THE.WEAVES OF 
HAND-LOOM FABRICS 


NANCY ANDREWS REATH 


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THE WEAVES OF 
HAND-LOOM FABRICS 


A CLASSIFICATION WITH 
fete b ORD Cua N Ort ES 


NANCY ANDREWS REATH 


THE PENNSYLVANIA MUSEUM 
PHILADELPHIA MCMXXVII 


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COPYRIGHT, DECEMBER, 1927 
BY THE PENNSYLVANIA MUSEUM hee ; 
AND SCHOOL OF INDUSTRIAL ART 


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THE ILLUSTRATIONS ARE FROM THE TEXTILE 
COLLECTIONS OF THE PENNSYLVANIA MUSEUM © 


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Mi ABiE OF HAND-LOOM WBAVES... 3. ...2..-..66 4 
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Peer eine THE WEAVES (206) 6. i awe aie es 7 
Ber HAVES, J. oa oe lows TE carte Ee 
Mistory OF THE CLOTH WEAVES............... 2, 
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_ History or THE Twitt WEAVES...... a we 30— 
SaTIN WEAVES ...... Hed Aaa ease cc pe Soe ata ne he 


Pervauy OF THE SATIN WEAVES 2.006. 0. <4 2252 36 
Me Evid WEAVES).. 405525. a ees, a ene we ae: B! 


- History or THE VELVET WEAVES........... ede of 
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History or BROCADING ........000. 000 e eee. ee 
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TABLE OF HAND-LOOM WEAVES 


SIMPLE WEAVES OOO. COMPOUND WEAVES_ I00. 
SIMPLE CLOTH O10. COMPOUND CLOTH 110. 
PLAIN CLOTH Olt. PLAIN COMPOUND CLOTH III. 
Stamped OII.O1 
Moire O11.03 
Chiné OI1.04 
Printed OII.0§ 
Slashed OI1.1 
DOUBLE CLOTH 112. 
FANCY CLOTH O13. FANCY COMPOUND CLOTH II}. 
TAPESTRY O14. 
Slit Tapestry O14.4 
Interlocking 
Tapestry 014.5 
SIMPLE TWILL O20. COMPOUND TWILL 120. 
PLAIN TWILL O21. PLAIN COMPOUND TWILL 121. 
FANCY TWILL 023. FANCY COMPOUND TWILL 123. 
TWILL TAPESTRY =—=—s 2.4. 
Interlocking Twill 3 
Tapestry 024.5 
SIMPLE SATIN 030. COMPOUND SATIN 130. 
PLAIN SATIN O31. PLAIN COMPOUND SATIN 1I3I. 
DAMASK 032. COMPOUND DAMASK 132. 
FANCY SATIN 033. FANCY COMPOUND SATIN 13}. 
GAUZE AND KNOTTED RUG 
PLAITED WEAVES 300. WEAVES 400. 
KNITTED AND CRO- EMBROIDERY AND 
CHETED WEAVES 600. | HOOKED RUGS 700. 


VELVET WEAVES 200. 
CLOTH VELVET 216, 
SOLID LET, 
Cut 2II.I 
Stamped 211.11 
Pile on Pile 211.12 
Chiné 211.14 
Printed 21.15 
Uncut 211.2 
Ciselé 211.3 
VOIDED pts 
Cut 212.1 
Uncut he 
Ciselé 2123 
TWILL VELVET 220. 
SOLID 221. 
Cut any t 
Uncut eB eo) 
Ciselé 2215 
VOIDED 22%, 
SATIN VELVET 230. 
SOLID 231. 
Cut 234.2 
Uncut 2335% 
Ciselé 232.3 
VOIDED 232. 
LACE 500. 
FELT 800. 


THE W EAVES OF HAND-LOOM FABRICS 


seum Bulletin and now revised and largely rewritten, aim to 

present a definite classification of early hand-loom fabrics— 
and, in many cases, of power-loom fabrics as well—on the sole 
basis of the weave so that every piece may be precisely indexed, 
and public collections thus become of more practical value to the 
student as well as more instructive to the connoisseur. 


The tendency of museums in the past has been to mark exhibited 
textiles with names in most cases arbitrarily chosen: damask, bro- 
catelle, brocade, lampas, and the like, are used without system and 
with little understanding of the basic principles of weaving, and 
these terms, furthermore, are re-distributed by the dealers so that 
the descriptive value they originally possessed is lost in constant 
misapplication and generalization. In addition, modern textile 
manufacturers have borrowed the traditional names of certain 
types of fabrics and have applied them to power-loom products 
that bear only superficial resemblances to the early stuffs. Orig- 
inally the old terms were in many instances truly descriptive and 
so, as far as possible, these have formed the basis of the present 
nomenclature; each term, however, has been narrowed by careful 
definition so that it can, from the essential aspect of the weave, 
apply to one type of fabric only. The primary aim throughout has 
been to develop a system that would be not only definite and 
reliable but also easily understood; it is obvious that anything 
cumbersome or confused by a multiplication of new terms would 
be entirely useless as a substitute for the irregular classifications of 
the past. 

Moreover, this classification should enable museums to arrange 
their textile study collections according to a technical as well asa 
chronological plan, and the various groups will then show the 
importance of weaving as an aid in determining the provenance of 
old fabrics. In the past, textiles have almost invariably been classi- 
fied by their designs, and the historical development of the weaves 
has too often been neglected. The design should surely be the first 


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[ve studies, originally published in the Pennsylvania Mu- 


consideration, but it is not always sufhicient for accurate attribu- 
tion, and scientific study must include all possible evidence. There 
is no doubt that most experts have a subconscious knowledge of 
weaves which they use in dating fabrics. But this is only an annoy- 
ance to the serious student, who, on asking why a certain piece is 
early, or why it is from one country rather than another, is told 
that it ‘‘looks’’ like the work of the fourteenth century, or that it 
has a Spanish ‘‘feeling.’’ More definite information must be made 
available, and it has been proved that this classification of hand- 
loom fabrics according to weaves brings out many essential facts. 


A decimal system for numbering the different classes and their 
subdivisions has also been developed. This will aid in filing the 
framed textiles in museum study rooms; each frame will have its 
place, and any number of additional frames may be inserted with- 
out disturbing the order of the original series. The decimal system 
in no way complicates the classification but rather supplies every 
fabric with a simple and precise formula, which by reference to the 
table on page 4 may be easily and exactly identified. Every number 
before and after the decimal point has an absolute meaning: thus a 
formula beginning with o represents a simple fabric, with 1, a 
compound fabric, with 2, a velvet; a formula with 1 in the ten 
column means a cloth weave, with 2, a twill, with 3, a satin, and 
so on. The numbers on the other side of the decimal point have a 
similar application: thus 1 appearing in the tenth place shows that 
the fabric is cut and x in the hundredth place that it is stamped, 
and so on. Since practically every fabric may be brocaded, and 
since brocading is not part of the basic weave, brocading is desig- 
nated by adding a B to the formula, which will immediately 
show the complete character of the textile. A survey of the table 
will make clear this decimal system. In order to include in the 
formula the period to which each piece belongs a line may be 
drawn under the numbers, as in a fraction, and below it may be 
put the date of the fabric. It will then be possible to file museum 
textile frames under the main division of weaves, with subdivi- 
sions for periods, and with the fabrics in each period grouped by 
countries. 


An analysis of weaves will be first undertaken and then each 
main division will be discussed in detail, both as to variations in 


6 


technique and as to history, and the definitions will be more fully 
explained. The historical outline in each case is very general and 
is only meant to suggest certain methods of dating fabrics. A com- 
plete and accurate history of weaves would necessitate close ana- 
lytical study of all the known examples of each period; such a 
study, when it is made, will inevitably alter many of the conclu- 
sions reached from this incomplete survey of a limited number of 
fabrics. It is felt, however, that even this partial history will be of 
value, if only as a stimulus to further study of the development of 
textile technique. 


ANALYSIS OF THE WEAVES 


The technical possibilities of hand-loom weaving are compara- 
tively limited; for all their apparent complexity of design and 
colour, old textiles are reducible to a few main weaves. To develop 
his pattern the weaver depended upon simple groups of warps and 
wefts ingeniously handled; the complex interweaving made possi- 
ble by the invention of the power-loom was quite beyond him. 
With the recognition of this technical limitation the comprehen- 
sion of ancient textiles becomes far easier, and this classification, 
based as it is entirely upon weaves—not upon material used (silk, 
cotton, linen, or wool), nor colour, nor design—is all embracing. 

From the definitions that follow, technical terms have been as far 
as possible eliminated. Four important words, however, it 1s neces- 
sary to explain: 

SELVAGES: the two parallel edges of every woven fabric, consisting of a 
closely woven narrow border, or of one or more heavier threads. 

WARP: all the threads that run parallel to the selvages and lengthwise in 
the fabric; also called the warp ends. 

wEFT: all the threads that intersect the warp and run across the fabric at 
right angles to the selvages; also called the woof, filling, shoot, or pick. 
FLOAT: 4 thread that runs free for a short distance either on the face or on 
the back of the fabric, since it is, for a space, not interwoven with any of 
the other threads. 


The warp threads are stretched in parallel lines on the loom and 
certain of these are alternately raised and depressed to allow the 
shuttles to pass between, carrying the weft threads from side to 
side; the various ways in which the two intersect form the various 
WEAVES. 


There are three principal weaves, cloth, twill, and satin, and 
each may be simple, compound, or pile (velvet), and each may in 
addition be brocaded. 


000. . SIMPLE WEAVES: one set of warp threads woven with one set of 
weft threads. 


O10. SIMPLE CLOTH: warp threads and weft threads passing over and 
under each other alternately (Figure 1). 
Ribbed cloths, or cords, are woven in precisely the same 
way as smooth cloths, the difference resting only upon — 
inequality in the size and number of the threads. Horizon- 
tal ribbing is produced by covering a heavy weft with finer 
and more numerous warps. Vertical ribbing rarely occurs 
in old stuffs except in tapestry. 


OIl. PLAIN CLOTH: the fabric is entirely of cloth weave. 


OII.OI sTAMPED: the fabric zs pressed with blocks or with chased and 
heated cylinders, so that an embossed design is produced. 


OI1.03 MOIRE: a watered effect produced either by passing two pieces of 
the finished fabric face to face between metal cylinders, so that the 
threads of one piece compress irregularly the threads of the other, 
or by the use of engraved cylinders which impress a watered design 
on the face. 

Moiré patterns are usually found in ribbed cloths. 


O11.04 CHINE: the threads, either warp or weft or both, before weaving 
are printed, painted, or irregularly dyed so that, when woven, the 
patterns appear in different colours all on the same threads. 


OII.05 PRINTED: patterns in colour introduced by any method after the 
fabric is woven. 
Coloured blocks or cylinders may be used to produce printed 
designs, or the patterns may be dyed, stencilled, or painted 
on the cloth. This subdivision includes toile de Jouy, 
chintz, and batik, as well as the Indian cloths in which all 
three methods are used. 


8 


OII.I 


O13. 


O14. 


O14.4 


O14.5§ 


O20. 


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SLASHED : some of the threads, or all the threads, in certain places 
ave cut. 


FANCY CLOTH: @ simple cloth in which the ground is woven as in 
plain cloth and small patterns formed at intervals by floats of 
warp and weft threads, or by irregular ribbing. 

Huckaback towels are of fancy cloth weave (Figure 12). 
The subdivisions listed under plain cloth may occur in 
fancy cloth, but such fabrics are seldom found. Silks of 
fancy cloth weave are also comparatively rare. 


TAPESTRY: @ Stmple fabric of cloth weave, usually with vertical 
ribbing, in which the weft threads form the pattern and do not 
run the full width of the piece. Each weft 2s woven back and forth 
around the warp threads only where each particular colour is 
needed (Figure 13). 

The tapestry weave differs from brocading in that a bro- 
caded thread is always one that is added to the main weft, 
while in tapestry the pattern weft is the only weft used. 


SLIT TAPESTRY: @ tapestry in which the various wefts are not 
interwoven with each other at their edges, and slits therefore 
appear between them (Figure 2). 

In most European tapestries it is necessary to sew the slits 
after the tapestry is: woven; in other tapestries the design 
is so planned that the colours dovetail and no long slits 
occur. 


INTERLOCKING TAPESTRY: 4 tapestry in which the vartous wefts, 
at their edges, are looped through each other so that there are no 
slits. 

Certain woolen blankets, such as those made by the North 
American Indians, are of this weave: 


SIMPLE TWILL: serzes of regularly recurrent warp threads pass in 
echelon over and under the weft threads, one after another and two 
or more at a time, producing diagonal ribs or stepped patterns; 
in twill adjoining warp threads always intersect adjoining weft 
threads. 


PLAIN TWILL: @ twill in which the diagonal ribs are regular 


(Figure 4). 


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Figure 1 Figure 2 
Priatn CLotH, OLl. Suit TAPESTRY, 014.4 
Each weft thread (stippled) passes over Weft threads, never looped together, of 


three different colours (stippled, white, 
and hatched) pass under one and over one 
warp thread (b/ack). 


one and under one warp thread (black). 


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INTERLOCKING TwILu TAPESTRY, 024.5 
Weft threads, looped through each other, of 
two different colours (stippled and hatched ) pass 
under one and over two warp threads (black). 


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FANCY TWILL: a twell in which the diagonal ribbing is irregular 
and forms various diamond, chevron, or herring-bone designs; or 
the pattern may be in weft twill on a ground of warp twill or 
vice versa. 

The classification of twills rarely requires the subdivi- 
sions found under cloth weaves. 


TWILL TAPESTRY: @ Simple fabric of twill weave in which the 
weft threads form the pattern and do not run the full width of the 
pzece. Each weft 1s woven.back and forth around the warp threads 
only where each particular colour is needed. 


INTERLOCKING TWILL TAPESTRY: @ twill tapestry in which the 
various wefts are looped through each other at their edges (Figure 


a 


This weave is found in Cashmere, or India, shawls. 


SIMPLE SATIN: the warp threads pass under one and over more 
than three—usually more than five—weft threads, concealing the 
weft and producing a smooth surface on the face and the effect of a 
simple weave on the back of the fabric; in satin adjoining warp 
threads never intersect adjoining weft threads (Figure 5). 

Satin is merely a broken twill, but in satin the warp threads 
are ordinarily much finer than the weft threads and more 
numerous to the square inch so that they conceal the weft. 
There is also weft satin, sometimes called sateen, in which 
the smooth surface is produced by the weft threads instead 
of by the warp, so that the grain of the satin weave runs 
at right angles to the selvages, not parallel to them as in 
warp satin. In ancient textiles weft satin seems to occur 
only in linen damask. 


PLAIN SATIN: the face of the fabric is entirely of smooth satin, 
which does not appear anywhere on the back. 


DAMASK: @ reversible patterned fabric in which areas of satin 
adjoin areas of simple weave on the face and on the back in 
exchanged positions (Figure 21). 


FANCY SATIN: @ patterned fabric in which areas of satin adjoin 
areas of twill or of cloth weave on the face, but on the back there 
is no satin, and the fabric is not reversible (Figure 22). 


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; the intersections of the threads 


diagonally adjoin. 


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PLaIn TwILtL, 021. 
Each weft thread (stippled) passes over one and under 


six warp threads (black) 


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130. 


131. 


132. 


133. 


COMPOUND WEAVEs: one set of warp threads and two or more 
wefts, or one set of weft threads and two or more warps, or both 
multiple warps and multiple wefts. 


COMPOUND CLOTH: multiple warps or wefts, or both, of which 
one warp and one weft are of cloth weave. 


PLAIN COMPOUND CLOTH: ove warp and one weft, interwoven as 
in simple cloth, with one or more extra warps or wefts, or both, 
used for figuring or retnforceng. 

DOUBLE CLOTH: one warp and one weft of cloth weave interwoven 
with a second warp and weft also of cloth weave (Figure 6). 

A double cloth is precisely the same as two simple cloths 
joined back to back, either loosely or tightly, by periodic 
interchange of warp and weft; this method of weaving 
makes reversible figuring possible, and at the same time 
the strength of the fabric is doubled. 

FANCY COMPOUND CLOTH: one warp and one weft, interwoven as 
in fancy cloth, with one or more extra warps or wefts, or both, 
used for figuring or retnforceng. 

COMPOUND TWILL: multiple warps or wefts, or both, of which 
one warp and one weft are of twill weave. 

PLAIN COMPOUND TWILL: ove warp and one weft, interwoven as 
in plain twill with one or more extra warps or wefts, or both, 
used for figuring or reinforcing. 

FANCY COMPOUND TWILL: one warp and one weft, interwoven 
as in fancy twill, with one or more extra warps or wefts, or both, 
used for figuring or reinforcing. 

COMPOUND SATIN: multiple warps or wefts, or both, of which 
one warp and one weft are of satin weave. 

PLAIN COMPOUND SATIN: one warp and one weft, interwoven as 
in plain satin, with one or more extra warps or wefts, or both, 
used for figuring or reinforcing. 

COMPOUND DAMASK: 4 foundation of damask with an extra 
warp or weft; always reversible. 

FANCY COMPOUND SATIN: one warp and one weft, interwoven as 
in fancy satin, with one or more extra warps or wefts, or both, 
used for figuring or reinforcing; never reversible. 


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VELVET WEAVES: @ foundation fabric of simple or compound 
weave with one, two, three, or four extra warps, or extra wefts, 


lifted in loops above the surface (Figure 7). 


The loops are formed by passing the velvet, or pile, warps 
over rods which are then withdrawn, leaving the threads 
standing in loops above the face of the fabric. This is un- 
cut velvet; when cut velvet is desired a knife is run along 
a groove in the rod, cutting the loops in half; or the loops 


are sometimes cut separately by hand. It is also possible to. 


use weft threads for velvet pile; these are woven loosely, 
without wires, and are cut after the weaving is finished. 
Velveteen is weft velvet made of cotton. Other fabrics in 
which selvage-to-selvage wefts are twisted into loops may 
be also classed as weft velvets. 


Among ancient velvets the pile is almost always of silk. 
Velvets differ from one another in respect to the founda- 
tion weave, and have been classified accordingly. The pile 


- warps are generally very numerous and fine, and therefore 
the uncut loops or the tufts of cut thread obscure the 


foundation fabric. Colour effects are produced by the in- 
troduction of pile warps of different shades. 


CLOTH VELVET: a velvet weave in which the foundation fabric 25 
of semple or compound cloth. 


SOLID CLOTH VELVET: the pile warps are lifted above the surface 
to cover the entire foundation fabric. 

The visible surface of the velvet is entirely of pile: an “‘all- 
over’ -velvet. 


CUT SOLID CLOTH VELVET: all the loops of the pile warps are 
cut, and the projecting ends thus formed from each loop stand 
perpendicular to the face of the fabric and produce a brush-like 


surface. 


STAMPED CUT SOLID CLOTH VELVET: the velvet, after weaving, 
is pressed with blocks or with chased and heated cylinders, so 
that areas of the pile surface are crushed flat. 


PILE ON PILE CUT SOLID CLOTH VELVET: the loops of the pile 
warps are of two or more sizes, producing patterns in two or more 


heights of pale. 
a 


Figure 6 
Dous.ez Cioru, 112. 
Cross-section. First warp, black; first weft, white; second 
warp, hatched; second weft, stippled. 


Figure 7 
CisELE VELVET, 211.3 
Cross-section. Pile warp, black; weft, hatched. 
First pile loop shown over rod, second and third 
loops uncut. 


Figure 8 
Process or BRocADING 
Three brocading bobbins shown 


2II.I4 CHINE CUT SOLID CLOTH VELVET: the pile warp threads before 


2I1.15 


fo th Ce 


211.3 


BN ips Ee 


230. 


weaving are printed or painted so that, when woven, the patterns 
appear in different colours all on the same threads. 


PRINTED CUT SOLID CLOTH VELVET: the velvet is painted or is 
pressed with coloured or gilded blocks or cylinders. 


UNCUT SOLID CLOTH VELVET: 4// the loops of the pile warp are 
left uncut. | 

Fabrics of this sort have not the glossy surface of cut 
velvets. 

CISELE SOLID CLOTH VELVET: some of the loops of the pile warps 
ave cut and others left uncut, producing patterns by contrast. 


VOIDED CLOTH VELVET: the pile warp is intermittently lifted in 
loops above the surface and then hidden in the foundation fabric, 
so that a velvet pattern (or background) appears with a back- 
ground (or pattern) of the foundation fabric. 

Thus in a voided velvet certain areas of the fabric are of 
velvet and others of the foundation weave; it is not an 
‘all-over’ velvet. 


TWILL VELVET: 4 velvet weave in which the foundation fabric is 
of stmple or compound twill (Figure 26). 

All three classes of velvet may have the same subdivisions, 
and it is not necessary to repeat the list under each head- 
ing. The arrangement and numbering of the classes may 
be seen in the table under Cloth Velvet. 


SATIN VELVET: @ velvet weave in which the foundation fabric is 
of simple or compound satin (Figure 27). 
This again ts subdivided in precisely the same way as above. 


BROCADED: @ pattern is woven, on a foundation fabric of semple, 
compound, or velvet weave, in one or more extra wefts which do 
not run straight from selvage to seluage (Figures 31-35). 
Theoretically any fabric in the classification may be bro- 
caded. By adding the word “‘brocaded”’ to the exact names 
of the fabrics listed above, and by ending the formulas 
with a ‘'B,’’ the classification is easily adapted to this 
important class of stuffs. For example, there is plain com- 
pound satin, 131. and plain compound satin, brocaded, 
1 ga OF 


16 


The class of a fabric should be determined by the foundation 


weave, that is, the weave found in the bulk of the piece. If there 


are equal areas of different weaves, as in some striped fabrics, the 
main weave shall be considered the more elaborate one: satin, in 
a combination of satin and twill; and twill in twill and cloth. 
Subsidiary weft threads are frequently bound down by the warp in 
echelon, producing diagonal twill lines, but if the ground of the 
piece is cloth or satin, the basic weave is to be so determined and 
cannot be labeled twill simply because of a twill binding for the 
extra wefts. 


In using several terms a certain order must be followed. The 


~ name of the lowest subdivision should come first and the main 


heading last: chine cut solid twill velvet, for example, or pile on 
pile ciselé voided satin velvet. 

The classification may be extended to include all the fabrics in 
museum collections that are usually listed as textiles, although 
they are not all woven stuffs. The 300 division will include gauze 
and textiles of plaited or twisted weave, in which the warp or weft 
threads do not lie straight, although few ancient fabrics of this 
type have been preserved. The knotted weaves of Oriental carpets 
will be 400, and under this heading interesting subdivisions may 
be made based on differences in technique. The next class, 500, 
will include the various laces, both needlepoint and bobbin. Knitted 
and crocheted fabrics will be 600. Embroidery and hooked rugs, 
in which the pattern is worked on a previously woven stuff, will 
be 700, and felt 800. In this way a place will be kept for every type 
of fabric, and under each main heading the necessary subdivisions 
may be made according to technique. 


17 


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Figure 9 Figure to 
PRINTED Puan CLOTH, O11.05 Morré Pian Corts, 011.03 
French, 18th century French, 19th century 


: Figure 11 Figure 12 
Cuinké Pian Ciotu, 011.04 Fancy CLotu, 013. 
Mexican, 18th (?) century Sicilian, 18th (2) century 


CLOTH WEAVES 


SIMPLE CLOTH 


The term cloth is here applied solely to a type of weave, and 
therefore must not be confused with other uses of the word to mean 
a woolen fabric or even any woven material. In a simple cloth the 
warp threads and the weft threads are regularly interwoven on the 
principle of “‘under one and over one’’ (Figure 1). This category 
includes muslin, cheesecloth, percale, cambric, taffeta, pongee, and 
the like. It is the ordinary weave found in cotton or linen sheets 
and handkerchiefs. Taffeta is silk, very closely woven, and is there- 
fore stiffer than other fabrics of cloth weave. In pongee the weft 
threads are of uneven thickness, showing the characteristic nubs 


of wild silk. 


Ribbed fabrics, or cords, are of cloth weave but the warp and 
weft threads differ in size, and the finer and more numerous threads 
are usually so woven around the coarse ones—which lie flat—that 
they conceal them. 


Varied colours and designs may be introduced into simple cloths 
by several methods. Changeable cloth may be made by weaving a 
warp of one colour with a weft of another colour. A group of warp 
threads in one colour may alternate with a group in a different 
colour, forming lengthwise stripes; the same treatment of the weft 
forms crosswise bars. A combination of bars and stripes results in 
a pattern of checks, as in checked gingham. 

Designs may be produced by stamping after the fabric is woven, 
and there are also many ribbed cloths with moiré patterns—a wa- 
tered effect—in addition to the woven design (Figure 10). These 
patterns are pressed into the fabric after weaving, either with en- 
graved cylinders or with another piece of the stuff; the latter is 
sometimes called moiré antique, and differs from the other in that 
its design has no regular repeat. 

Then there are chiné cloths, in which the threads are printed, 
dyed, or painted before they are woven (Figure 11). Chiné painting 
and printing are usually done on the warp threads, but dyes may 
be applied to both weft and warp. 


. 


For convenience all fabrics with coloured designs applied after 
weaving are classed as printed, although colours may be otherwise 
- added: they may be painted or stencilled by hand; they may be 
printed with wood blocks, metal plates, or cylinders; or a design 
may be dyed by the use of a mordant to fix the colours where 
wanted, or by the use of a resist to prevent the penetration of the 
dye where it is not needed (Figure 9). The important distinction 
between woven and printed or chiné patterns is that in the former 
each thread is the same colour throughout, while in the latter the 
same thread is of different colours in different parts of the ee 
as may be seen in Figure 9. 


In many fancy cloths the pattern is of floated warp threads, as 
in huckaback towels, Figure 12; ribbed cloths are plain when the 
ribbing is regular, and fancy when it is irregular. 


COMPOUND CLOTH 


The second cloth weave is compound cloth, which may be plain, 
double, or fancy. A plain compound cloth has a main warp and 
weft and also one or more extra warps or wefts, or both, while a 
double cloth has two main warps and two main wefts. Fancy com- 
pound cloth, in which extra warps or wefts are interwoven with 
a foundation weave of fancy cloth, rarely occurs. Figure 14 shows 
a plain compound cloth of yellow linen with the pattern in an ex- 
tra warp of green silk. More often, however, designs are made with 
extra wefts than with extra warps. Certain compound ribbed cloths 
have patterns woven in extra warps or wefts, or even both, of the 
same colour as the ground; these extra threads float for short dis- 
tances over the face of the fabric, making small embossed or peb- 
bled patterns. This technique is illustrated in Figure 15 by a detail 
from a French silk: the leaves and rosebuds in the design are of 
floated weft threads which are the same yellow as the background. 


In a double cloth the two main warps and two main wefts result 
in two cloths, sometimes of different materials, woven together. 
‘The two cloths may be so joined that it is possible to pull them 
apart in certain places and to feel two distinct fabrics; or else they 
may be frequently and closely interwoven, and the double cloth is 
then only to be recognized by distinguishing the two warps and 
two wefts. The two cloths are usually of contrasting colours and 


20 


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the pattern is formed by bringing first one and then the other to 
the surface of the fabric (Figure 16); the design on the back of a 
double cloth is usually the same as that on the face, with the 
colours reversed. Modern Marseilles bedspreads are examples of the 

double weave. : 


HISTORY OF THE CLOTH WEAVES 


The cloth weave without ribbing, sometimes known as plain 
weave, or tabby, is the simplest of all weaves and has been used 
always and everywhere since spun threads were first woven. This 
mode of weaving no doubt developed from the primitive interlac- 
ing of rushes, cane, and similar fibres, for various kinds of baskets 
and mats. The cloth weave in different materials is found among 
all the ancient textiles that have been preserved. The oldest are 
probably the Egyptian linen cloths of about 4000 B. c. and the 
textile fragments from the Swiss lake dwellers of about 3000 B. c. 
There are examples of plain cloth weave in Chinese silks of the 
Han Dynasty, as well as in the Coptic fabrics made 1n Egypt dur- 
ing the Christian era. These patternless cloths, however, are of 
archacological interest rather than artistic. 


The earliest patterns were probably dyed or painted on cloth. 
Pliny describes the process in use in Egypt in his time, that of 
mordant dyeing. Some Chinese stuffs of the eighth century, with 
dyed patterns, have been preserved, as well as Peruvian printed 
cloths made before the Inca Period. Javanese batiks, Japanese 
stencilled fabrics, and the various printed textiles of the Gothic 
and Renaissance periods in Italy and in Germany, and of later 
times throughout Europe, are almost invariably of plain cloth 
weave. This is natural since there would be no object in weaving 
One pattern when another was to be printed afterwards. Among 
the best known of these printed cloths are the French todles de Jouy 
of the eighteenth century. An examination of modern printed silks 
will show how the primitive idea of painting plain cloth has 
developed and yet remained in principle singularly unchanged. 
Examples of chiné cloth may be found in the zkat weavings of the 
Indonesian and other primitive races. The French word chzné is 
from the Italian for this process, alla chinese, which suggests a 
connexion with the Far East, or more likely with the East Indian 
trade. | ? 

22 


Taffeta, or plain cloth of tightly woven silk, with designs bro- 
caded in silk and metal, is found in many French stuffs of the Louis 
XV period when stiff fabrics were in demand, and also in Persian 
silks of the seventeenth and eighteenth centuries. It is to be noted 
that simple and compound cloth weaves in silk were carried to 
greater heights of perfection and elaboration in Persia and Spain 
than in other weaving centres, where this technique was ordinarily 
reserved for plain stuffs of linen, cotton, or wool. 


An interesting variant of plain cloth is slashed taffeta, which 
seems to have originated in the late sixteenth century and which 
continued in use through the seventeenth century, during the same 
period as the kindred slashed satins (Figure 20). 


The plain compound cloth weave is found in many Egyptian 
textiles of the Coptic period, in Sicilian linen covers, Sardinian 
rugs, and in Perugia towels, which have been woven in much the 
same way since about the twelfth century. This weave occurs in 
Spanish fabrics of the thirteenth century and later, and also, but 
less frequently, in other European textiles, as well as in many 
peasant woven stuffs of different periods. For silk, however, the 
compound cloth weave seems to have been more used in Spain than 
elsewhere. 


Many of the coverlets woven in America during the eighteenth 
and nineteenth centuries are plain compound cloth, with the pat- 
tern in heavy woolen weft threads on a foundation of plain cotton 
cloth. There are also at the present time quantities of modern power- 
loom fabrics of cloth weave that have extra wefts to form the 
patterns. 

Double cloth has always been an extremely useful and popular 
weave. It is found, together with simple cloth, in Peru, and the 
section of a poncho, illustrated in Figure 16, is a double cloth of 
brown and white cotton with the typically Peruvian stair-sign 
pattern. The interweaving of the two cloths may here be plainly 
seen: one cloth submerges when the other colour is needed, and 
the second cloth then rises to the surface. Nevertheless, while they 
appear to be two separate cloths, they are of course interwoven and 
form one indivisible fabric. The double weave occurs in silks of 
the eleventh century attributed to Byzantium, and in those of the 
twelfth, thirteenth, and fourteenth centuries attributed to Sicily, 


map 


Italy, Spain, and Persia. Double cloth was expertly woven by the 
Persians in the sixteenth and seventeenth centuries. A fabric, illus- 
trating the story of Mechnoun and Leila, is of this weave: there is 
a piece of it in the Cooper Union in New York and it is also illus- 
trated by Errera in Catalogue d’Etoffes, No. 264. Other Persian 
silks of cloth weave have floral patterns, and amazing variety of 
colour and intricacy of design were achieved by the Persians with 
this primitive weave. 

There are Spanish double cloths of the twelfth century, and the 
weave is constantly found in Spanish textiles on through the seven- 
teenth century. A type of early American coverlet generally found 
in Pennsylvania is of double cloth weave, and this weave is also 
widely used at the present time in both hand-loom and power-loom 
fabrics of many different materials. In hand-weaving, however, 
the cloth weaves in silk are ordinarily found in the earlier stuffs— 
usually before the Renaissance—or else in the simpler fabrics of 
Spanish workmanship and in the products of primitive looms, 
which are not always entirely of silk. 


Cord, or ribbed cloth, came into general use much later than 
smooth cloth, twill, or satin. It does not seem to have been used 
in China, and in the West it does not occur to any extent before the 
late sixteenth century. Some striped silks of a very fine cord weave 
were produced in Egypt in the ninth and tenth centuries and it is 
possible that cord was developed from the earlier tapestry weave, 
which is almost invariably ribbed. There are a few rare examples 
of patterned cords, perhaps woven in Baghdad about the tenth 
century, and a group of brocaded silk cords of the fourteenth cen- 
tury, attributed by Falke to Parisian looms. It is not, however, 
until the seventeenth century that ribbed cloth came into general 
use. At that time it was either simple, with designs brocaded in 
colours, or else compound, with extra wefts forming the patterns; 
designs made with extra warps occur less frequently. 


In the late sixteenth century there are many examples with extra 
wefts of flat metal strips so buried in the ground weave that only 
the sheen is visible. Such a fabric often has a second weft of silk— 
white when the metal is silver, yellow when it is gilt—woven as 
a background for the metal threads; these stuffs are customarily 
reversible, and some pieces are without metal, the reversible design 


24 


being in silk only. This weave may be Spanish or it may possibly 
be German. The slashed cords of the late sixteenth and of the 
seventeenth century may have an extra weft floating on the surface 
which is cut, or the fabric may be slashed right through. Other 
stuffs, in the same period, have patterns in brocaded threads as 
well as extra wefts of very fine strips of metal which lie near the 
sutface of the fabric. The extra metal weft, in other examples of 
this period, consists of a silk core wound with strips of metal; it 
sometimes floats free on both the face and back of the fabric, being 
interwoven only where it comes through from one side to the other. 


In the seventeenth century a new type of compound cord was 
developed that became extremely popular in the succeeding cen- 
tury. It consists in the weaving of pebbled patterns in extra weft 
threads, or extra warps, of the same colour as the ground of the 
fabric (Figure 15); both warps and wefts are thus woven in many 
of the elaborate stuffs of the Louis XV period. These patterns may 
be the sole designs, but they are more usually subordinate to a 
main design in various colours, and they greatly enrich the stuffs 

in which they appear. 


Many Spanish fabrics, of the seventeenth century and later, are 
ribbed double cloths, tightly woven and with the pattern reversed 
on the back. Another Spanish weave that was used during the 
eighteenth century is a very loose cord with the main design in 
several extra wefts and a secondary pattern in floating warps of the 
same colour as the ground. In others, which may be Spanish but 
are more likely French and made in Lyons, thecord ground is tightly 
woven and the extra warp of the secondary pattern—the same colour 
as the ground—floats free from the main weave wherever it appears 
on the back of the fabric. Such pieces are frequently brocaded in 
both silk and chenille, and may be attributed to the period of 
Louis XIV. 


In France the cord weave reigned with Louis XV. Textiles in his 
time were used chiefly for costume, since walls were no longer cov- 
eted with fabrics but were paneled in wood. For pannier skirts 
and flaring coats and waistcoats fashion demanded the stiffest silks, 
so that the supple velvets and satins were discarded in favour of 
cords and taffetas, but more especially cords. Most of these were 
brocaded and many were compound as well. Fewer cords were 


) 


made in the late eighteenth century, when soft fabrics were again 
in demand, but their popularity increased in the succeeding periods, 
and at the present day innumerable ribbed fabrics are woven. 


The moiré process, used in making many modern ribbons, has 
been more frequently applied to cord than to smooth cloth (Figure 
10). It is often said that moiré patterns were first produced in the 
eighteenth century, since they were the fashion at that time, but 
watered designs must have been known long before, because they 
appear in paintings as early as the fifteenth or sixteenth century, 
and in the Musée Historique at Berne there are some squares of 
moiré linen in a dalmatic with orphreys of the thirteenth century; 
it is unlikely, however, that the moiré linen is of as early a date 
as the orphreys. The moiré silks of the late eighteenth and of the 
nineteenth century are the most plentiful and the best known. 
Some of the late eighteenth century pieces have moiré backgrounds 
for patterns in brocading or in extra wefts; and in the Directoire 
and Empire periods there were silks with moiré and satin stripes, 
as well as plain cords with all-over moiré designs. 


Chiné patterns are found in cords of both hand-loom and power- 
loom weave. There are eighteenth century examples from Central 
Asia—probably Bokhara, where chiné velvets were also made— 
from Poland, from Japan, and from Mexico; some of the Mexican 
rebozos, or silk scarves with chiné patterns, one of which is illus- 
trated in Figure 11, are even attributed to the sixteenth century. 
In the later nineteenth century there were French chiné silk cords, 
but at present the process is less used than other methods of printing 
or dyeing fabrics. 


216 


Been. 


TWILL WEAVES 
SIMPLE TWILL 


Simple twill (Figures 4, 17), like simple cloth, is a fabric with 
a single warp and a single weft, but the method of weaving differs 
radically from the simple under-one-over-one of plain cloth. 


A fabric of twill weave is one in which each weft thread passes 
in echelon under one or more and over two or more warp threads, or 
Over one and wnder two or more; that is, in a twill of the over one 
and under six type (Figure 4), the first thread of the weft lies over 
the first warp thread and under the next six, the second weft thread 
over the second warp and under the next six, and so on. This pro- 
gressive interweaving of the threads produces the unbroken diagonal 
ribs that constitute a twill and by which it may most easily be 
recognized. To those unfamiliar with technical definitions a simile 
may be of use by way of further explanation. Imagine, then, a high 
flight of steps, each step representing a thread of the weft. On the 
bottom step, at the extreme left, the end of a rope—the first warp 
thread—1s secured by a large stone; the rope is drawn up over six 
steps and weighted by another stone on the seventh step, then up 
Over six more steps, then another stone on the fourteenth step, and 
so on to the top of the steps. A second rope lies parallel to the first 
one and is similarly weighted, but its first stone is on the second 
step from the bottom. The third parallel rope is weighted on the 
third step from the bottom, the fourth on the fourth step, the fifth 
on the fifth, the sixth on the sixth, and the seventh, which is the 
last of the series, on the seventh step. The weighting of the eighth 
rope begins again on the bottom step, as it did with the first rope, 
and the order continues as in the first series. Thus there are six steps 
in every interval between the stones, but the lowest stone for each 
rope is a step higher than the preceding one, so that the stones 
form diagonal lines across the flight of steps. The diagonal pattern 
in twill is the same: the weighting stones mark where the weft 
threads cross over the vertical warps, represented by the ropes; and 
as each stone weights the next rope one step higher than the pre- 


27 


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ceding rope was weighted, so each weft thread crosses the next 
warp one thread higher than the preceding warp was crossed. 


One important result of this method of interweaving is that in 
most cases the areas of warp and weft visible on the face of the 
fabric are not equal, either warp or weft predominating. A weft 
twill is one in which the weft threads pass under one and over two 
or more warp threads, almost concealing the warps, while in a 
watp twill more of the warp is visible, as the wefts pass over but 
one warp and then under two or more. Simple twills may be either 
plain or fancy: the diagonal ribs are regular in a plain twill, and 
irregular in a fancy twill, as in the upper part of Figure 18. Herring- 
bone stripes are effected by reversing the action of sections of the 
warp, and tweed and homespun are generally fancy twills. While 
the twill weave is used for patterns it also makes a stronger and 
heavier fabric than simple cloth. 


COMPOUND TWILL 


A compound twill has a main warp and weft, which may be 
interwoven either as in plain twill or as in fancy twill; in addition 
to this foundation weave, it has also one or more extra warps or 
One or more extra wefts, or both. 

Compound twills more frequently have extra wefts than extra 
warps. These wefts make the design, and an extra warp is only 
introduced to bind them. Weft twills may have two wefts—one 
colour for the background and one for the pattern—or they may 
have several wefts and complicated designs in a great variety of 
colours. Warp twills have fewer colours and the weave is less regu- 
lar, the warps being sometimes woven in pairs. Few weft twills 
have been preserved that contain metal, while the less colourful 
warp twills often have designs in gilt thread as well as in silk. 


The illustration in Figure 19 shows a plain compound warp 
twill that has two warps, two wefts, and at intervals a third 
weft. The main warp and weft, of green silk, form the background 
of the pattern, and as it is a warp twill the warp obscures the weft. 
The second weft, of linen wound with strips of gilded goldbeaters’ 
skin (a thin membrane), forms the main design, and at intervals 
the third weft, for the centre of the flower, is introduced only where 
it is needed. These extra wefts are held down by a secondary warp 


ao 


of extremely fine pink silk, which appears on the face of the fabric 
only where it binds the extra wefts. 

In classifying twills the importance of disregarding the weave 
of the extra weft must be emphasized. Subsidiary weft threads are 
usually bound down by the warps in echelon, producing diagonal 
twill lines—the centre of the flower, for example, in Figure 19— 
but the ground of the piece is not therefore necessarily twill; it 
may be of quite another weave. 


HISTORY OF THE TWILL WEAVES 


It is probable that the twill weave originated in Egypt between 
the second and fifth centuries of the Christian era. In most coun- 
tries the oldest fabrics with woven patterns are of tapestry weave, 
usually in wool. Many such tapestries were made in Egypt, and 
from them was developed a coarse weft twill', which has been 
found on grave pillows with mummies of the second and third 
centuries’, although similar pieces are frequently attributed to the 
fifth or sixth century. These fragments are of wool with two wefts 
running from selvage to selvage. The Egyptians had always been 
expert weavers, as is proved by the many examples of their cloth 
and tapestry weaves that have been preserved, and they may have 
developed weft twill in an attempt to imitate the weave of con- 
temporary Chinese silks. In the Chinese fabrics attributed to the 


Han Dynasty by Sir Aurel Stein the designs are woven in the verti- 


cal warp threads, a difficult technique that was not known to 
the Egyptians whose patterns are always in the horizontal weft 
threads. Some of the patterns in the Egyptian weft twills suggest 
Chinese influence, and in several pieces the design has been turned 
sidewise, for the weaving, so that when it is right side up the weft 
threads are vertical and might be mistaken for warp threads, were 
there no selvage to serve as guide; this suggests an attempt to 
reproduce with woolen weft threads the effect of the vertical silk 
warps in Chinese stuffs. 


Most of the patterned silks woven between 4oo and 1100 A. D., 


are weft twills. This weave naturally follows the tapestry weave 
in which also the weft threads conceal the warp. The close relation 
between tapestry and twill may be seen in the Perugia towel illus- 
. F. Flanagan, The Origin of the Drawloom, Burlington Magazine, vol. XXXV, p. 167. 

®A. F. Kendrick, Catalogue of Textiles from Burying-Grounds in Egypt, vol. Il, pp. 71, 72. 


30 


[| 


trated in Figure 18: the white ground above the design is fancy 
twill; the plain blue band is of tapestry weave; the pattern below 
is in an extra weft of blue on a white ground of plain cloth weave; 
and all three weaves are executed on the same warp threads. In 
Egyptian textiles, also, cloth and tapestry, or tapestry and twill, 
are often found in the same piece. 


Twillisa better weave for silk fabrics than either cloth or tapestry, 
since it exposes greater lengths of the glossy thread. The produc- 
tion of silk textiles grew along with the perfection of twill weav- 
ing, not only because of the improvement in technique, but also 
because during the same period the supply of raw silk was increased. 
Before the sixth century all silkworm silk had to be brought from 
China, usually through Persia, and wars with the Parthian and 
Sassanian Empires had frequently interrupted the Roman trade. 
About the year 552, however, according to Procopius and Theo- 
phanes*, silkworms’ eggs were first brought to Byzantium from 
the Orient, and after centuries of laborious silk importation seri- 
culture in the West had its beginning; the Mediterranean coun- 
tries, therefore, were no longer entirely dependent on the East for 
their raw material. Then too, the Emperor Justin II in the same 
century exchanged embassies with the Tu-kiue of Central Asia, 
whose subjects, the Sogdians, had been for some time chief inter- 
mediaries in the silk trade*; through the Sogdians a commerce in 
silk was established that was independent of the Persian middlemen. 


From the sixth century forward, quantities of weft twills were 
made, and many pieces, of Egyptian, Byzantine, and Persian pro- 
venance, have been preserved. Knowledge of twill weaving had 
quickly spread from Egypt to the Near East and Persia; it ts pos- 
sible that it even reached China, although some of the so-called 
T’ang silks, such as those at Horiuji in Japan, that are of twill 
weave, might have been made in the West for the Chinese trade. 


In the twelfth and thirteenth centuries, with the rise of silk 
weaving in Sicily and Italy, the weft twill of earlier times occurred 
less frequently, and numbers of patterned silks in this period were 
warp twills. The pattern in some of the Gothic warp twills is made 
by an extra weft of the same colour as the ground, with some bro- 
8Henry Yule, Cathay and the Way Thither, vol. I, p. 203. 


4Ernest Pariset, Histoire de la Soie, vol. I, p. 187. 


31 


caded gilt thread; in others an extra weft of gilt thread is used for 
the design, and sometimes extra silk wefts as well—Figure 19, for 
example. Although warp twill was not generally woven before 
the twelfth century, earlier examples do occur: one in the Victoria 
and Albert Museum, with a very fine herring-bone pattern and 
probably from Akhmim, is attributed to the sixth or seventh cen- 
tury. The warp twill weave was either copied from Chinese satin, 
or else it was independently developed on the weft twill principle; 
it may possibly have been the model in Europe for satin, which 
began to supersede it in the fourteenth century. After the fifteenth 
century warp twills are seldom found in silk weaving in Europe, 
although there are some sixteenth century Spanish pieces that look 
very like satin, but which are in reality finely woven warp twills. 
In the Far East the warp twill weave occurs in many Japanese bro- 
caded silks of the seventeenth and eighteenth centuries. 


A revival of the weft twill weave took place in the so-called 
Cologne orphreys of the fifteenth century. These are narrow bands, 
sometimes only two and a half inches wide, rarely more than five 
inches, with floral patterns, religious inscriptions and figures. The 
weave is a fancy compound twill, with two warps entirely con- 
cealed by the wefts, and the ground weft, of gilt or silvered gold- 
beaters’ skin wound about a linen thread, woven to form a herring- 
bone pattern. Extra wefts of coloured silks are introduced where 
needed for the design, and there is also a continuous white linen 
weft that does not appear on the surface. Additional details were 
sometimes embroidered in the patterns after the pieces left the 
looms. These narrow webs, with only acord for selvage, were woven 
in imitation of embroidered orphreys and are usually attributed to 
Germany or Flanders. With this exception, however, a weft twill 
is as rare in patterned silks after the thirteenth century as is a 
warp twill before the twelfth. 

Nowadays the twill weave is usually found in woolen stuffs— 
in fact, the French term for twill is tzssu sergé—and we have serge, 


many kinds of blankets, certain tweeds and flannels, and Scottish 
tartans, all of simple twill weave. 


32 


SATIN WEAVES 
SIMPLE SATIN 


The name, satin, is ordinarily applied to silk fabrics of a certain 
weave; in this classification, however, it will be used for the weave 
only and not for the material. 


In satin the bulk of the warp, or the bulk of the weft, is on the 
face of the fabric, and the threads that are visible are usually finer 
and more numerous than those that are concealed. A warp satin 
is one in which the warp threads appear on the surface, and a weft 
satin is one in which only the weft threads appear. In early textiles 
the weft satin weave occurs only in linen damasks. 


Satin is woven on the same principle as twill, but since the two 
types of fabric differ in appearance and in history it has seemed 
wiser to assign them to separate divisions. In weaving satin the 
weft threads may be passed regularly, but never successively, over 
one and under three or more warp threads: the first weft thread 
may, for example, cross over the first warp and under the next six, 
the second weft over the third warp and under the next six (Figure 
5). This produces a smooth surface, since the warp threads cross 
the wefts in long floats and the intersections never adjoin diag- 
orally, so that the weft is hardly perceptible. In a twill, on the 
other hand, the warps are crossed by the wefts in sequence, one 
after the other: the first weft over the first warp, the second weft 
over the second warp, and the third over the third, so that the 
intersections adjoin diagonally, the float of each weft being set one 
warp thread to the right or left of the float of the preceding weft. 
The simile, used in the study of twill, of a series of parallel ropes 
laid vertically on a flight of steps and held down at intervals by 
stones, is also applicable to satin: the first weighting stone for 
the rope on the left should be put on the bottom step, and the sec- 
ond stone for the same rope on the eighth step; the first stone for 
the next rope is on the fifth step (instead of on the second, as in 
twill); and the weighting of the third rope is on the second and 
ninth steps. Thus, between the stones there will be six steps in the 
vertical intervals and six ropes in the horizontal intervals; the low- 


he 


est stone for each successive rope will be four steps higher than the 
preceding one. The important difference between satin and twill, 
therefore, is that in twill the threads intersect on the principle of 
one step up, while in satin it is two steps up or more. Since satin 1s 
woven like twill and sometimes even has diagonal lines, though 
never unbroken as in twill, classification is not always easy; some 
of the doubtful pieces, indeed, have been called “‘satin twills;”’ yet 
the distinction should always be plain under a glass. In ordinary 
cases, however, itis simple enough torecognizea satin by the smooth 
surface and the lack of conspicuous unbroken diagonal ribs. Satin 
weave on the face of a fabric produces the effect of a simple weave 
on the back. The long stretches of uninterrupted thread make satin 
the ideal weave for silk, and in satin, as M. Algoud so well expresses 
it, ‘‘la soie peut déployer le plus complétement peut-etre les qualités 
qui lui appartiennent en propre et joindre un €clat miroitant sans 
rival a une moelleuse et riche épaisseur. 


A plain satin is one without any woven design, along it may 
have stripes in different colours, and may of course be stamped, 
printed, or even slashed. Figure 20 shows a fragment of green satin, 
that has been both stamped and slashed; the design is of the 
seventeenth century, and the piece was more than likely part of a 
costume. , if 


In the classification under the heading simple satin, the next 
subdivision after plain satin is damask (Figure 21). This is a revers- 
ible fabric in which the design, on both the face and the back, is 
formed by a contrast between satin and the effect of a simple weave 
—either cloth, twill, or weft satin; the areas of satin on the face 
are areas of simple weave on the back, and the areas of simple weave 
on the face are areas of satin on the back. The entire fabric is satin, 
which appears in some places on the face and in others on the back 
of the stuff. This effect is produced by reversing the action of the 
warp so that the satin periodically executes an about face, as it 
were, and turns first its face and then its back to the onlooker. 
The essential characteristic of damask, therefore, is that it is rever- 
sible. In linen damask tablecloths and napkins the pattern usually 
appears in weft satin with a background of warp satin. In modern 
silk damasks either the design or the background may be of satin, 
but the early examples usually have a satin ground with the design 


34 


SS eee 
Sere 


rary 


aman even Tet tre tren * 


Figure 20 
STAMPED SLASHED PLAIN SaTIN, 031.11 
Italian, 17th century 


Taos 


Figure 22 
Fancy SATIN, 033. 
Italian, 17th century 


SS 


Figure 21 
Damask, 032. 
Italian, 17th century 


Figure 23 
Pian CoMPOuUND SATIN, 131. 
Italian, 17th century 


in the contrasting weave. Most damasks are of one colour only; 
they may, however, have two colours, one for the warp and con- 
sequently for the satin, and one for the weft and contrasting weave. 

Fancy satin, on the face, looks like damask but it is not abso- 
lutely reversible: it may have a background of satin with a design 
in twill or in ribbed cloth, but in neither case is there any satin on 
the back, the back of the twill being twill and the back of the rib- 
bed areas being ribbed. Fancy satin, with the design in ribbed 
weave on a satin background, is illustrated in Figure 22. 


COMPOUND SATIN 


Compound satin includes all fabrics that have areas of satin 
weave and extra warps or extra wefts. Plain compound satins usu- 
ally have designs in one or more extra wefts on a ground of satin, 


sometimes with a second warp to bind the subsidiary wefts. The 


compound satin illustrated in Figure 23 is white with a pattern in 
red, green, purple, and yellow wefts. In a compound damask, the 
extra thread, usually a weft of silver or gilt metal, does not affect 
the reversible character of the damask foundation, while a fancy 
compound satin, on the other hand, also with extra wefts, is not 
reversible. oa ake: 


HISTORY OF THE SATIN WEAVES ~ | 


The origin of satin is unknown. There is even no certainty as to 
the derivation of the name, which has been the subject of much 
controversy. It may come from the late Latin seta, silk, or setznus, 


silken, or from the mediaeval pronunciation of the Chinese word - 


for satin, ssw tuwan. On the other hand there is also good reason 
to believe that it was derived from Zaitun, mentioned by Marco 
Polo, which was the great port of China in the middle ages and is 
probably the modern Ch’uang chou’. Ibn Batuta, who traveled in 
the first half of the fourteenth century, writes that a rich silk 
fabric was made in Zaitun which was called Zaituniya, and the 
Arabic word that he used to describe it is atlas; this word, in later 
yeats, means satin but it is impossible to know whether Batuta 


’Ch’uang chou was called T’zu T’ung and Jui T’ung from the names of the trees that were planted 
around the city some time after the middle of the tenth century. Cf. Greg. Arnaiz, Les Antiquités Musul- 
manes de Ts’iuan-Tcheou, T’oung Pao, 2nd series, No. 12, 1911, pp. 678, 683. 


36 


an 


used it in that sense or not. It has been said that in mediaeval 
Italian satin was zetani raso, and in mediaeval Spanish azeztunz; 
in England the word is used by Chaucer, 


“I will give hym a feder bedde 

Rayed with golde, and ryght wel cledde 

In fyne blak satyn de outer mere.”’ 

—The Dethe of Blaunche the Duchesse. 

and it also appears in France in the fourteenth century, but again 
one cannot be sure what kind of fabric was meant by these terms. 
It is possible that both the name and the weave are of Chinese 
origin—the weave could certainly have been developed in China 
from the Han silks, in which a smooth glossy surface is produced 
by the warp threads that form both design and background—but 
as yet nothing can be proved. 


Fabrics of satin weave are not found in the West before the four- 
teenth century, or perhaps the late thirteenth, although there are 
many warp twills of earlier date that are constantly called satins. 
Satin may have been developed in the West from the earlier herring- 
bone or other irregular warp twills, in some of which the warps 
are woven in pairs as in the early satins, or it may have been brought 
from the Far East. It is interesting to find that both the name and 
the weave appear in Europe during the period of Chinese influence 
in textile designing. No Chinese patterned silks that are earlier 
than the fourteenth century seem to have been preserved in Europe. 
After 1300, however, Chinese designs came to Europe both in Far 
Eastern fabrics, many of which still exist in various European 
countries, and also indirectly through Persian designs. The infil- 
tration of Chinese motives at this time was the result of the con- 
quests of the Mongols; in the thirteenth century, under Genghis 
Khan and his descendants, the Mongols spread their dominion all 
across Asia from China into Europe, and we are therefore not sur- 
prised to find that Italian and German vestments were made of 
Chinese brocaded silks, and that the textile designs of this period 
in Italy were revolutionized by the influence of Chinese patterns. 

The satins of the fourteenth century are either simple, with a 
design of brocading, or else compound, with the pattern in an extra 
weft of gilt thread or coloured silk or both, and a second warp to 
bind the extra weft. Orphreys of silk and linen compound satin, 


37 


with religious scenes and symbols, were produced in considerable 
quantities during the fifteenth and sixteenth centuries. These pieces 
are Italian or Spanish; they have two or more wefts, one of linen, 
which does not appear on the face: of the fabric, one of silk, and 
perhaps one of gilt thread, as well as two warps, one for the satin 
and one to bind the pattern wefts. This weave was adopted for 
secular designs in the sixteenth century, and was also widely used 
in the seventeenth, but after that time it is rare. In these fabrics, 
to which the name brocatelle is usually given, the background 
mav be of satin weave, or the design may be satin. 


Many silk and linen compound satins are known in the trade as 
brocatelles, but there are good reasons for omitting this word from 
a system of classification by weaves. In the first place, its meaning 
varies to such an extent that it is difficult to determine what type 
of fabric it denotes. There are various definitions in the textile 
dictionaries, but they do not supply any definite information, nor 
do they agree as to the meaning of the word. In the second place, 
brocatelle usually implies a combination of silk with some other 
material, which precludes its use in classifying by weaves only, 
although it may well serve in other connexions to designate a cer- 
tain type of fabric. The word lampas has been abandoned for the 
same reasons. It does not seem to have been used before the eight- 
eenth century, and it then probably referred to a type of fancy com- 
pound satin that was produced in quantities during the Louis XVI 
period; these compound satins give the effect of a two-coloured dam- 
ask, but they have two warps and two wefts and are not reversible. 


Silk damasks began to be plentiful in Italy in the fifteenth cen- 
tury, although they also occurred in the fourteenth; in the six- 
teenth and seventeenth centuries the damask weave was extremely 
popular, and damasks were then frequently brocaded. The weave 
is comparatively rare in the eighteenth century. Linen damasks 
did not appear until the sixteenth century, and they were not woven 
in any quantity before the seventeenth. The word damask is taken 
from the name of Damascus where rich fabrics were made in the 
early days; it is quite unlikely, however, that they were of the 
same weave as the textiles known today by that name. There are 
apparently no Persian damasks and very few from Asia Minor, but 
there are many late Chinese examples. 


38 


<2, 
a 
is 


_— 


The all silk compound satins of the sixteenth and earlier seven- 
teenth centuries usually have designs in two or three wefts, some- 
what loosely woven, on a satin ground (Figure 23). In the late 
sixteenth and in the seventeenth century many compound satins, 
both Spanish and Italian, have two warps and two or three wefts, 
all of silk, and in addition, a third weft of fine flat metal strips. The 
use of metal increased in the later satins, and the weave, as in other 
late fabrics, is closer and tighter. Most satins in the later seven- 
teenth and in the eighteenth century are brocaded with either silk 
or metal or both. 


In European weaving of the seventeenth century, particularly 
in Italian fabrics, we find, in addition to the richly brocaded Italian 
damasks of the same period, a fancy satin weave that imitates 
damask but is not reversible (Figure 22). The most elaborate ex- 
amples are compound satins with large symmetrical designs of 
fantastic, luxuriant foliage—although not all of these are in the 
same weave—which are attributed to the seventeenth century. 
These silks may be distinguished from the earlier compound satins 
by the fact that only one of the wefts is loosely woven and appears 
on the surface, while the other is tightly woven and suggests the 
contrasting weave of damask. A type of satin that originated in 
the time of Louis XIV has a satin warp backed with a second 
invisible warp that is interwoven with the main weft. These 
fabrics seem to be in two layers, and when the satin layer is worn 
away the foundation or strengthening layer appears beneath it 

The popularity of satin and damask waned in the Louis XV 
period when taffeta and ribbed silk prevailed, but the softer fabrics 
returned to favour in the reign of Louis XVI. Since that time satins 
have steadily increased in number and variety, and the weave has 
been used more and more for materials other than silk. 


39 


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FR at : 


ened 
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Figure 24 
Uncut Vorpep Crotu VELVET, 212.2 
Spanish, 17th century 


<P RUAEN 
her to eye 
{ 


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Figure 26 
CiszLé Vorpep Twitt VELvET, 222.3 
Italian, late 16th century 


sy 
ae 


baticories >, SM i,  Sibleety: Sree; 


t ryt. 2h 4 BOs * * 
serine? 6 Bian a Py % orate Aves gent 


Figure 25 
STAMPED 
Uncut Soxip Satin VELVET, 231.21 
Italian, late 16th century 


Figure 27 
PILE on PILE 
Cur Vorpep Satin VELVET, 232.12 
Italian, 15th century 


VeLVET WEAVES 


In connexion with velvet it is necessary to repeat what has al- 
ready been said about the names for other weaves. Velvet is usually 
of silk, but it may be of cotton, wool, or linen. The word is here 
used for the weave alone and not for the material. Velvet ordinarily 
consists of a foundation weave with an extra warp that is woven 
Over wires; when the wires are withdrawn, tiny loops of thread 
remain. In old fabrics, pile formed by the weft threads, or weft 
velvet, seldom occurs except in those pieces that have a few of the 
wefts twisted into loops to form a pattern. 


Velvets are classified according to the foundation weave, that 
is, the pile mayrise from a foundation weave of plain cloth, making 
cloth velvet (Figure 24), or from a foundation of twill, making 
twill velvet (Figure 26), or of satin, making satin velvet (Figure 
27). Under each main heading the subdivisions are those of solid 
and of voided velvets. If the entire surface of the fabric is covered 
by the pile, as in ordinary patternless velvet (material for hats, 
dresses, curtains, and so forth), it is a solid velvet (Figures 25, 28, 
29); if, on the other hand, there are areas where no pile appears it 
is a voided velvet (Figures 24, 26, 27), the heraldic term, voided, 
being adopted from its meaning of ‘‘pierced through, so as to show 
the field.’’ In a voided velvet either the background is of the foun- 
dation weave with the pattern in velvet, or else the background is 
velvet and the design is in the foundation weave. In every case the 
foundation weave may also be brocaded. The term ‘‘cut velvet’ 
only means that all the velvet loops are cut; it has frequently been 
misunderstood and incorrectly applied to voided velvets, because 
it is thought that where there is no pile and the foundation weave 
appears, as in Figures 24, 26, 27, the velvet pile of the fabric must 
have been cut away. On the contrary, in those parts of the design 
where no pile is needed and the satin or cloth weave is used to 
form the background, the velvet warp lies flat and is concealed in 
the foundation weave. 


Velvet pile is of three kinds: cut, uncut, and ciselé. In a cut vel- 
vet all the pile loops are cut (Figures 27, 29); in an uncut velvet 


AI 


none of the loops are cut (Figures 24, 25); and in a ciselé velvet, 
cut and uncut loops are combined (Figures 26, 28)—the French 
word ciselé, meaning chased or chiseled, is here used as descriptive 
of the effect produced. When a velvet, usually a solid velvet, is 
stamped, the pattern appears in those parts of the pile that have 
been pressed flat by hot irons. A stamped uncut velvet, illustrated 
in Figure 25, has a design of an acorn and leaves, framed by inter- 
locking bands, pressed into the ground of uncut velvet loops. 
Designs may also be printed on velvet; or they may be woven in 
two heights of pile, called pile on pile: in these fabrics the pile 
warps are woven over wires of different diameters so that the size 
of the loops varies accordingly, and the pile when cut is of two 
different heights; the pattern is thus brought into relief, as in 
Figure 27. 

Colours may be introduced in pile fabrics by successive changes 
of the warp threads, in stripes, or by the use of two, three, or even 
four sets of velvet warps in the same place. In such velvets each 
thread is of one colour throughout its length. In chiné velvets, 
however, different colours appear in the same thread. Chiné velvets 
may be recognized by the ill-defined outlines of the patterns— 
which also appear indistinctly on the back of the fabric—as opposed 
to the clear cut designs, not visible from the back, that are pro- 
duced by multiple pile warps. Designs printed on the warp of chiné 
velvets are many times longer than they are required to be in the 
finished fabrics, to allow for the take-up in weaving. 


HISTORY OF THE VELVET WEAVES 


The beginnings of velvet are hard to discover. The word velluto, 
from the Latin villus, the hair of an animal, appears in Italy in the 
thirteenth century, and forms of velours in French and velvet in 
English are found in the early years of the fourteenth century. 
Heiden’ states that a velvet-like stuff—a long-haired, patternless 
silk of a violet colour from an Egyptian tomb—has been attributed 
to the twelfth or thirteenth century a. p.; and according to Michel’ 
fragments of twill velvet, dated ninth to twelfth century, are found 
in the Manuscript of Theodulf, which is preserved at Le Puy, 
France. 


SHeiden, Handworterbuch der Textilkunde, p. 454. 
7Francisque Michel, Recherches sur le Commerce, la Fabrication, et I’ Usage des Etoffes de Soie. 


42 


Figure 30 
Back of Figure 29 


Figure 29 


Cur Sorip Twitt VeLvet, 222.1 
Chinese, 18th century 


cl 


An ii , is.” 1 Bie _ i Abul ll Wi ) ae it, 
hs o) apt Sha sl EN a Q ) G fi ah va iy) Wi Mi i 
ne ¢ 


gato bas a i" i” (eg oP 


d 
D fap) 
ng > iF i s & fi 7] | 


w 
; is 
ft . ita i i D/ 


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i ’ f ee wr fy 


dt ." 
he sil 
Nee | L¢ (i hey X 


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| a? iil Cre : yi fi 


| 
t 


= = ‘= 
Seer 
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= 


Figure 28 
CisELE Sotip SATIN VELVET, 231.3 


Mi ty st iy ) a nid 
re oy 


; 


Chinese, 18th century 


It is likely that velvet weaving was invented either in Persia or 
in Italy. In Persia it might have been introduced to imitate hand- 
knotted carpets, even as modern processes of reproducing knotted 
rugs follow the technique of velvet weaving. No Persian velvets 
prior to the sixteenth century have been preserved and the designs 
of the older Italian examples show no trace of Persian influence, 
yet the perfection of technique in the finest Persian velvets pre- 
supposes considerable experience in velvet weaving before the six- 
teenth century. Ina Papal inventory of 1295 there isan item ‘‘Panno 
tartarico velluto iallo, longum de tribus brachiis et amplum de 
uno pede,’’ which may have come from Persia or some Tatar 
dependency. Velvet certainly did not originate in China in spite 
of its prevalence there in later centuries; this is proved by the 
etymology of the Chinese term for velvet, hud tse jung. Jung means 
nap, and Auz huz or hui tse, since T'ang times, has been the Chinese 
name for the peoples of Central Asia’. It is possibly derived from 
the Semitic khwez, meaning brother, that was so constantly used 
by the Mohammedans that the Chinese perhaps adopted it as a 


name for the people themselves. The Central Asians may well have 


carried Persian velvet to China. 


Von Falke® says that plain velvet, that is, solid and without a 
pattern—undoubtedly the first kind of velvet made—was known 
in Italy before 1400. A few examples of plain solid velvet, with 
designs in English embroidery of about 1300, have been preserved, 
and patterned velvet is mentioned in English records of the year 
1327; these patterns, however, were probably also embroidered. 
Velvet seems to. have been made in Constantinople, Messina, 
Venice, and Genoa, at least as early as 1340. In the records of the 
fifteenth century we find that the Venetian guilds in 1421 divided 
the weavers of plain velvet from the weavers of patterned velvet. 
The earliest known velvets with patterns are Italian of the fifteenth 
century, and may very possibly have been woven in Venice. 

A foundation of satin weave is found in some of the oldest pat- 
terned velvets, and has been in use ever since (Figure 27). Asia 
Minor velvets, with a few rare exceptions, and many Persian ex- 
amples, are on satin ground, as are most Chinese pieces. In Europe 


8Herbert A. Giles, Chinese-English Dictionary, und ed., p- 640. 
*Von Falke, Kunstgeschichte der Seidenweberei, vol. Il, p. 101. 


44 


the satin foundation weave was never entirely discarded, even dur- 
ing the periods when the cloth ground was more used, but it was 
always especially popular when other satin weaves were in demand. 


In Europe some of the earliest plain solid velvets had a founda- 
tion of cloth weave, and later we find velvets with a ribbed cloth 
foundation as well. Of the fifteenth century those with smooth 
cloth grounds are not numerous and are most often of the elaborate 
type of design illustrated by Errera in Catalogue d’ Etoffes Anciennes, 
No. 128 (Figure 35); there are also a few of Asia Minor origin, but 
the weave is unusual and does not seem to occur again until the 
nineteenth century. The fifteenth century ribbed cloth velvets have 
a wide and rather loose rib, and they have, for the most part, 


designs of large curving stems or bands interrupted by medallions 


with sprouted cones (Errera, Nos. 138 to 148), although not all 
velvets with this type of pattern are on cloth ground. In the six- 
teenth century there were many fewer cloth velvets than satin, 
but toward the end of the century a new ribbed cloth velvet was 
developed, with very fine ribbing. It is closely related to the other 
ribbed weaves that were so popular in the seventeenth century 
and it, too, often has an extra weft of flat gilt metal. 


Twill velvets were never woven in any great quantity. Certain 
Persian velvets of the sixteenth century, with designs of figures on 
a very large scale, are twill, and in Europe in the late sixteenth and 
early seventeenth centuries a rather open twill weave was used for 
velvet, usually with an extra weft of flat gilt metal. In Figure 26 
the twill ground is yellow, the pattern is in red ciselé pile, and 
there are traces of the gilt metal. Other seventeenth century twill 
velvets have a tight foundation weave, similar to the corded silks 
of the same period, and the designs are also not unlike. This weave 
again appears in the late eighteenth century. 

Pile on pile is one of the oldest techniques in European velvet 
weaving and does not occur in Asia Minor, Persia, or China. The 
records show that pile on pile velvet was sold in Bruges by mer- 
chants from Lucca in 1416, so that it may possibly have been the 
earliest type of Italian patterned velvet. There were pile on pile 
fabrics in the fifteenth and sixteenth centuries (Figure 27) and then 
again in the late eighteenth, but they do not seem to occur between 
these two periods. 


45 


Ciselé pile (Figures 26, 28) is later than cut velvet, and the use 
of uncut loops alone (Figures 24,25) is the most recent of all. In 
Europe, until the middle of the sixteenth century, almost all vel- 
vets had cut pile; then ciselé took its place and cut velvet was only 
used for stamped, printed, or chiné designs. Stamped velvets (Figure 
25) began in the later sixteenth century and were a specialty of the 
seventeenth century. Velvets were printed in the eighteenth and 
nineteenth centuries, and there is an eighteenth century red velvet, 
printed with a design in gold, in the collection of the Cooper Union. 
The chiné process was applied to velvets in the eighteenth century 
both in Central Asia and in Europe, and it may have been practised 
even earlier in the weaving centres of Bokhara and Samarkand. 
The most famous recent examples of chiné velvets are the portraits, 
painted on the velvet warp and then woven, by Gaspard Grégoire 
in the late eighteenth and early nineteenth centuries. 7 

It is difficult to determine when ciselé velvet was first used. It 
is not found in any quantity before the late sixteenth century; it 
then became so popular that in the seventeenth century there are 
practically no European patterned velvets, except those with 
stamped designs mentioned abové, that are not ciselé. In the Bar- 
gello in Florence, and also in Brussels (Errera, No. 98), there is a 
velvet with an early fifteenth century design that has ciselé pile, 
and a few brocaded velvets of the late fifteenth century are also 
ciselé. It would therefore seem that the method of weaving ciselé 
velvet was known for about a century before it came into general 
use, although of course these pieces may have been made in the 
sixteenth century after earlier designs. The pile of Asia Minor and 
Persian velvets is always cut and never ciselé, but quantities of 
Chinese velvets are ciselé; in all probability, however, these date 
from the beginning of the last dynasty. Apparently the earliest — 
Chinese examples are cut voided satin velvets; these may be of the 
Ming Dynasty (1368-1644), and it is possible that velvet weaving 
was introduced into China from the West in that period. Many 
velvets of Ch’ien Lung’s time (1728-1789) are ciselé; one is illus- 
trated in Figure 28: it is a solid velvet of royal blue with the design 
in cut pile and the background of uncut loops. The ground weave 
is satin, the weft is blue and the foundation warp of fine black silk. 
Ciselé pile continued in use in Europe, following the fashion for 


46 


Jot, See ee 


een 2 


other pile weaves, and numerous examples appear in the Louis XVI 
period (1774-1792) when uncut voided velvets were also popular, 
although uncut velvet does occur as early as the sixteenth century 
(Figure 25 ). Ciselé solid velvet is found today in the upholstery of 
American railway carriages. 


Solid velvets are used for designs in many coloured pile warps, 
or for ciselé, chiné, printed, or pile on pile designs, and are there- 
fore found in the periods when such patterns were in demand. The 
designs of voided velvets consist of contrasts between the velvet 
pile and a plain or brocaded foundation weave. The early fifteenth 
century velvets, with many coloured pile warps, are found both 
solid and voided. The period when voided velvets predominated 
was during the Renaissance, from the middle of the fifteenth to the 
end of the sixteenth century, although there were also at that time 
a number of solid velvets with patterns in pile on pile. In the late 
sixteenth and in the seventeenth century there were both solid and 
voided velvets with either ciselé or stamped designs. The solid 
velvets of the Louis XVI period are frequently chiné, and in the 
early nineteenth century there were painted and printed solid vel- 
vets as well. Many Persian velvets are solid, as are most of the 
Chinese ciselé pieces. 


In Europe, about the middle of the fifteenth century, the use of 
bright colours and two or three velvet warps gave way to designs 
in pile of a single colour, on a ground of the same tone or of yel- 
low, grey, or ivory, frequently brocaded with metal thread. Asia 
Minor and Persian velvets of the sixteenth century frequently have 
several pile warps and a ground of some brilliant colour, but this 
use of colours rarely occurred in Europe from the middle of the fif- 
teenth century to the middle of the sixteenth; in seventeenth cen- 
tury French and Italian ‘“‘jardiniére’’ velvets we again find two or 
three velvet warps. The Persians specialized in the weaving of 
velvets with multiple pile warps, sometimes even using four con- 
tinuous warps in one place, each of a different colour. The number 
of colours—it may be as many as ten—would suggest that there 
were more than four sets of warp threads, but the back of a Chinese 
velvet, illustrated in Figure 30, shows that extra pile warps may 
be introduced for short intervals and then cut away, so that they 
do not run the whole length of the piece. In the illustration it may 


47 


be seen that the pale blue threads are cut above and below the 
flowet. 

Loops formed by selvage-to-selvage weft threads are found in 
some Sicilian linen covers, in certain Spanish rugs, and in American 
bedspreads of the first half of the nineteenth century. A long shaggy 
cut pile, made of linen weft threads, occurs in many Coptic tunics 
and coverings, and weft threads are also looped in other Coptic 
fabrics, but these loops are more often brocaded than woven in 
selvage-to-selvage wefts. 

Countless velvets were made in the fifteenth and sixteenth cen- 
turies, and the number produced in Europe during the seventeenth 
century was still considerable. Comparatively few, however, were 
woven in the time of Louis XV (1715-1774) when soft silks were 
not in fashion, and thus there is a gap, in tracing the history of 
European velvet weaves, between the beginning and the end of 
the eighteenth century. Later, in the velvet revival of the Louis 
XVI period, almost every kind of velvet weave previously devel- 
oped was again brought into use and new weaves were added, 
many of which are still found in modern power-loom fabrics. 


48 


Le ee 


‘ 
u 
> 
Be 
a 
5 . 
if 
#7, 
z 
4 


BROCADING 


Brocading is a process of weaving by which a simple, compound, 
or pile fabric may be further enriched. Since, therefore, cloth, twill, 
satin, or velvet, may be brocaded, the term brocade is not specific 


enough for a classification by weaves, as it conveys no definite idea 


of the kind of fabric, but only of its incidental decoration; and, 
furthermore, since patterned textiles may be woven in many ways, 
the common use of brocade for any elaborately patterned silk is 
manifestly inexact. The noun brocade has therefore been discarded, 
and in its place the verb form brocaded is attached to the name of 
the main weave, such as brocaded twill, brocaded satin, brocaded 
velvet. 


In French, to brocade 1s brocher, derived from broche, the iron rod, 
like a spit, on which the bobbin is threaded, which is also the 


_word for a tapestry bobbin. By some authorities brocading is de- 


rived from Italian and Spanish words meaning to emboss, but a 
careful study of its etymology confirms Littré’s statement” that 
all the definitions of brocher invariably mean piercing or stabbing 
with a point or a sharp instrument: the original Latin brochus 
means projecting or pointed. Hence it seems certain that the name 
refers to the penetration of the warp threads by a pointed bobbin. 

By brocading is meant the introduction by means of a broche, 
at intervals during the weaving of the fabric, of additional weft 
threads—never of warp threads—which are only used where needed 
and do not run straight from selvage to selvage. These threads, 
although interwoven, do not form a constituent part of the fabric, 
but bear the same relation to it as does embroidery to the material 
that is embroidered. The difference is, however, that brocaded 
threads are woven with bobbins on a loon# while the fabric itself 
is being made (Figure 8), and that embroidery is worked with a 
needle on a material previously woven. 

Brocaded weft threads differ from ordinary selvage-to-selvage 
weft threads in that they are woven back and forth for short dis- 
tances only, to form certain parts of the design, and are not found 


elsewhere in the fabric. It is therefore necessary to examine the 
MLittré, Dictionnaire de la Langue Francaise. 


49 


back of a fabric in order to determine whether or not it is brocaded. 
Figure 31 shows the back and face of a brocaded damask. In this 
piece it may be seen that the brocaded threads are carried back and 
forth to weave the flower and do not extend beyond its limits. 
Ordinary selvage-to-selvage weft threads, on the contrary, whether 
main or subsidiary, are shot across the full width of the piece with 
the shuttle that carries them. Sometimes, however, a subsidiary 
weft is used solely for detached motives of the design and, although 
continuous in the weaving, is afterwards cut at the edges of these 
motives, producing the effect of brocading, but in such cases the 
clipped ends of the threads that outline the pattern are always 
apparent on the back of the piece; these are not found in brocading. 


A word of explanation is perhaps necessary in regard to brocaded 
velvets. It is sometimes said that a fabric is brocaded with velvet 
pile. This is not possible, and such a piece is in reality a voided 
velvet, already described under that head as a fabric with only part 
of the design in velvet and the rest in the pileless ground weave. 
Another type of velvet that might be mistaken for brocading has 
extra velvet warps, to change the colours or to introduce additional 
colours, which run for short distances only and not the full length 
of the piece (Figures 29, 30). This description suggests brocading 
but the difference is that brocading, as defined above, is always of 
weft threads, and therefore no fabric can be brocaded with velvet 
warps, although a piece of velvet may itself be brocaded with silk 
or gilt weft threads as readily as cloth, twill, or satin. 


Brocading is better adapted for weaving detached motives or 
scattered details in metal or in colours than for weaving all-over 
designs. The advantages are that frequent changes of colour may 
easily be made; more colours may be introduced in the same place 
than would ever be possible with ordinary extra wefts; economy 
of thread is achieved by interweaving the brocaded thread only 
where it is needed for the design, and not across the whole fabric; 
and finally, the use of such special threads as chenille or twisted 
metal is made feasible when, owing to their thickness or stiffness, 
it would not be practical to carry them the full width of the piece. 
Precious metals and silk threads are therefore those most commonly 
found in brocading, although a brocaded thread may equally well 
be of cotton, linen, or wool. 


ie 


Ta nF aL yyy peal 
8 Seah Wi i 
Ay 


Figure 31 
Damask, BrocaDED, 032.3 
Face and Back 
Italian, 17th century 


aot 
ot atte 

(es 
Peete 


Hatt ~ A 
arth finh Bad 
Amtitnt 


ee 
2 thew ton 


Beit 
ee ath 5 
th; 


oie 
0 PEAT 


fe 
Be BS fe 


Figure 32 Figure 33 : 
PLain Compounp TwILL, 121. PLAIN CioTH, BrocaDED, OII. 
Japanese, 17th century Peruvian, before 1200 


According to many writers it is because gilt and silver threads 
were so generally used for brocading during the Renaissance period 
that all later fabrics with metallic threads came to be called “‘bro- 
cades.’’ If, however, the term brocading be used for a manner of 
weaving it cannot apply only to textiles with metallic threads, 
since silk is frequently brocaded, while silver or gilt thread may 
be and often is woven as an extra weft running from selvage to 
selvage, and is therefore not brocaded, according to the use of the ~ 
word in this classification. } 


HISTORY OF BROCADING 


Brocading is such a simple and natural way to decorate hand- 
loom fabrics that examples of it may be found in many different 
periods and in widely separated countries. It very likely developed 
soon after the invention of plain cloth weaving, and may have 
been an attempt to produce, by means of the loom, the effect of 
embroidery. An example of brocaded plain cloth is illustrated in 
Figure 33; the ground is brown cotton, and the design in brocading 
of brown wool. It was woven in Peru, where fine woolen tapestries 
were also made as early as the pre-Inca period—before the twelfth 
century—and during the reign of the Incas, as well as after the 
Spanish Conquest in 1533. This piece is probably pre-Inca, but no 
more definite date can be assigned to it. There is also brocading in 
some of the Coptic textiles of the fifth and sixth centuries a. D. 


The process of brocading varies so little everywhere that it is 
necessary, in determining dates, to consider carefully the materials 
used in the weaving. A study of the different gilt threads is there- 
fore pertinent, although, as has been explained above, gilt thread 
may be woven as a selvage-to-selvage weft and not brocaded at all. 

It is possible that brocading in the early silk fabrics may have 
been with threads of pure gold and that these stuffs may all, with 
a very few exceptions, have been destroyed to extract the precious 
metal". However, if brocading in the classical and early mediaeval 
periods was always of pure gold, brocaded fabrics would hardly 
have been woven in great quantities, and it is probable that gold 
was more used for embroidery than for weaving. The extant Alex- 


andrian and other silk twills of the sixth to tenth centuries are not 
"Von Falke, Kunstgeschichte der Setdenweberei, vol. Il, p. 22. 


§2 


brocaded, nor are the Chinese silks of the Han Dynasty excavated 
at Lou lan by Sir Aurel Stein and near Urga by Colonel Kozloff. 
In the West, about the eleventh century, a new kind of metallic 
thread appeared”: it isa thin leather membrane called gold-beaters’ 
skin because it is laid between the sheets of that metal when it is 
beaten into leaves. This membrane, when used for gold thread, is 
gilded on one side and then wound in narrow strips about a core 
of linen or of silk thread. In two brocaded silks of the twelfth or 
thirteenth century” , from the tomb of St. Bernardo Calvo, Bishop 
of Vich, Spain, 1229-1243, the details of the pattern are brocaded 
with gilded gold-beaters’ skin wound ona silk core. The same kind 
of thread seems to have been used in the so-called Sicilian or 
Hispano-Moresque silk tapestries of the twelfth century. In the 
thirteenth century, in the West, only this gilt gold-beaters’ skin 
was used for weaving, although pure gold and silver strips still 
occurred in embroidery. The core of these threads in Italian fabrics 
is usually linen, while in Spanish brocading it is more often silk. 
From the same period there are also a few silks of simple ribbed cloth 
with scattered fleurs-de-lys and birds brocaded in gilded gold- 
beaters’ skin, but brocaded silks do not occur to any appreciable. 
extent before the fourteenth century. At that time coloured silk 
began to be more used for brocading, and many Italian fabrics of 
the fourteenth and fifteenth centuries have incidental brocading of 
coloured silks and an extra selvage-to-selvage weft of gilt thread. 
In others the details of the design were brocaded with gilt thread, 


but at that time both silk and gilt threads were seldom found 


brocaded in the same piece. 

In Europe, during the early years of the fifteenth century, gold- 
beaters’ skin fell into disuse, and metal strips, usually silver gilt, 
took its place. At first the metal was wound on a linen core; later 
it was wound on silk, and after the fifteenth century the core is 
always silk. If the silver is gilt the core is yellow silk, if not it is 


__ white. Until the end of the Renaissance most of the thread was 


gilt, but in the seventeenth and eighteenth centuries plain silver 
thread greatly increased in popularity. Virtually no metallic thread 
other than strips of silver wound on silk was used until the late 
sixteenth century when metal strips woven flat without a core 
Von Falke, Kunstgeschichte der Seidenweberei (oc. cit). 

18Y Badia Collection, 47, 47 bis, now in the Cooper Union. 


53 


wete introduced; these, however, are almost invariably selvage- 
to-selvage wefts and are not brocaded. A new kind of metal thread 
appeared in Europe in the seventeenth century; in it the metal is 
not wound on a silk core but is twisted with the silk thread, so 
that the surface is rough and more silk shows than in the wound 
threads. Tinsel, or wide flat strips of metal (in French, clénquant) 
was also popular in the Louis XVI period. 


Metal threads twisted into loops that stand up from the fabric 
are found brocaded in many European stuffs of the fifteenth and 
sixteenth centuries, and in a few Persian velvets of the sixteenth 
and seventeenth centuries. These loops are sometimes of different 
sizes in the same piece and suggest pile on pile velvet. When velvet 
is brocaded with loops of metal thread these loops may be scattered 
through the pile, or they may be woven all together in a solid 
block. This looped brocading is illustrated by a section of Italian 
velvet of the late fifteenth century (Figure 35): the silk pile is 
crimson, and the brocading is silver gilt, wound on yellow silk and 
woven both flat and in loops. In Italy these loops are commonly 
found in velvets, but in Spain they were used for other fabrics too, 
and in greater profusion. They do not occur in Asia Minor or Far 
Eastern weaves. 


Velvet was brocaded with both silk and metal threads in Asia 
Minor in the fifteenth and sixteenth centuries, but in Italy and 
Persia at that time brocading on velvet was in metal only. Other 
Persian fabrics are usually brocaded with silk threads, the metal 
being woven as an extra selvage-to-selvage weft to form the back- 
ground of the design, but some Persian silks have a pattern bro- 
caded in metal. 


Asia Minor and Persian metal thread is usually pure silver, or 
silver gilt, wound on a silk core—never on linen—although there 
are a few Persian fabrics in which flat strips of metal appear. Gold- 
beaters’ skin does not seem to have been used in Persia or Asia 
Minor; it never occurred in the Far East but was a specialty of Euro- 
pean weaving. 

The provenance of European and Asia Minor brocaded velvets 
of the Renaissance period may ordinarily be determined by an 


examination of the metal thread“. In Asia Minor satin velvets, 
MN. A. Reath, Velvets of the Renaissance, Burlington Magazine, June, 1927. 


54 


* 
oy 


when the fabric is worn the metal disappears, leaving the silk core 


on which it was wound still in place, bound down by the warp 


threads in the conspicuous diagonals of twill weaving (Figure 34). 
In European textiles, on the contrary, the whole brocading thread 
—both the metal and the core—is loosened when worn, and the 
entire thread, breaking through its warp binding, comes free from 
the fabric with the metal strips still wound on the silk core (Figure 
36). It is essential, however, to consider the piece as a whole and 
not base conclusions on small areas only, where a little of the 
metal may be rubbed off the silk core in European textiles, or 
where, in Asia Minor fabrics, the core as well as the metal strips 
may be worn away with hard use. 


The European metal in this period was silver largely alloyed 
with copper; it is frequently gilded but is never pure gold. The 
Asia Minor and Persian metal 1s also silver, but it is almost entirely 
free from copper and is therefore softer than the European alloys. 
In most Turkish velvets, the soft metal in some places has been 
rubbed from its silk core without affecting the warp threads that 
bind it, while in European fabrics the hard metal offers more 
resistance and breaks and cuts through the warp threads without 
quitting the silk core. Hence, in a worn European velvet the bro- 
caded thread, its core still covered with the metal strips, will often 
float free from all warp binding. In Spain an alloy of copper and 
zinc was occasionally used, but as it wears in the same way as the 
[talian silver and copper it is classed with it. The same kind of 
metal was used in Asia Minor and Persian brocaded silks as in the 
velvets, and it wears in the same way, and the metal brocading in 
European silks is also identical with that in the European velvets. 


Another difference between European and Near Eastern velvets 
is in the interweaving of the metal thread. In European velvets of 


this period, the velvet warp is used to bind the brocaded metal 


thread wherever it runs through the velvet pile, and also irregu- 
larly in the areas of brocaded thread where there is no pile. This 
may most easily be seen with the aid of a glass where the pile ts 
worn away, usually along the edges of the velvet pattern (Figure 
36). In Asia Minor velvets, on the other hand, the metal thread is 
bound by the foundation warp alone and is not crossed by the 
velvet warp at any point. 


> 


Aimquao yi$t Sueviypeqy 
qi'vtt ‘agavooug 
‘LOATH A NILVS GaaIOA LA’) 
gE asnd2 7 


oF me TORN 4 


Arnquso yi$r ‘ueryeay 
qi'tiz ‘dadavooug 
‘LHATS A HLOTD GXaIOA LAD 
SE aanB1,y 


— 
— 
~— 


yr 


OBST 


Ainquad yI9gT ‘IOUT VISY 
qi'ttt ‘agavooug 
‘LHATH A NILYS GadIOA LN 
FE aandty 


In early Chinese silks, the effect of gold was produced by flat 
strips of gilded paper, or it may occasionally have been leather. In 
the eighteenth century the gilt paper was sometimes wound on a 
silk core, but it is not easy to determine when sucha core was intro- 
duced. Flat gilt paper is also found in Japanese kinran (Figure 32), 
and modern Japanese gilt thread is made of paper wound on silk. 
Apparently no thread of pure metal was used in Chinese or in 
Japanese textiles, nor do the flat strips of gilded paper seem to 
occur outside the Far East. 


In the eighteenth century almost every elaborately patterned 
silk fabric of European workmanship had at least some part of the 
design in brocaded threads. Some of these have uneven surfaces, 
like the rough metal threads of the same period, obtained by 
twisting together fine and heavy silk. Many varieties of thread 
were combined in the later European silks, particularly in French 
fabrics. In the late seventeenth century stuffs we begin to find, all 
in one fabric, silk and metal brocading in addition to patterns in 
extra selvage-to-selvage wefts, and at about the same time, or 
somewhat earlier, chenille brocading appeared. Numbers of French 
silks were brocaded with chenille, and it was also popular in 
Russia, Spain, and Portugal. In eighteenth century fabrics every 
kind of brocaded thread may be found: coloured silks, chenille, 
spangles, and gilt and silver thread of half-a-dozen varieties. 


In tracing the history of weaves it is of course impossible to set 
fixed limits of time within which each weave must appear, yet one 
usually dominates one period, any new technique to a certain ex- 
tent replacing older processes. The more primitive weaves, how- 


ever, persisted for coarser fabrics such as linen and wool, and for 


all weaving in Northern Europe. In Spain even silks continued to 
be of twill and cloth weave long after more complicated methods 
of weaving had been perfected in Italy and France. It is interesting 
to find that when the textile centres shifted from one country to 


another, there was usually a change in technique as well as in 


design. In general it may be said that the early fabrics are of an 
open and loose weave, while the later ones are of a tight weave, 
although naturally there are exceptions. From the sixth century 
to the eleventh, in Western silk weaving, the weft twill weave was 
in the ascendant; in the eleventh and twelfth centuries the impor- 


7 


tant weave was double cloth, in the thirteenth and fourteenth 
centuries, warp twill, in the fifteenth, sixteenth, and seventeenth, 
satin, and in the eighteenth, ribbed cloth, but since then no one 
weave has been predominant. 


The development of hand-loom weaves, starting with the sim- 
plest primitive cloth, progressing by constant improvements in 
technique and material, finally reached the sumptuous fabrics of 
the eighteenth century. With the introduction of the power-loom 
in the following century, however, the industry of hand-loom 
weaving in the West came to an end, and it is unfortunately true 
that modern conditions preclude its revival for the quantity pro- 
duction of silk fabrics elaborate in design and technique. 


INDEX 


AKHMiM, herring-bone warp twill from, 32. 

ALEXANDRIAN weft twill not brocaded, 52 

ALLOY in metal thread, copper and zinc, 55 

AMERICAN BEDSPREADS AND COVERLETS, 
weave of, 23, 24; with weft loops, 48 

ANALYSIS of the weaves, 7-18 

ARNAIZ, G.., cited, 36 

ASIA MINOR, and European metal thread, differ- 
ence between, 5 4; and Persian velvet distinguished 
from European, 54; brocading, 54, 55; brocading 
ill., 56; brocading on velvet,-55; damask, 38; 
velvet, 44, 45, 46, 47 

AZEITUNI, satin called, 37 


BAGHDAD, patterned cord from, 24 
BARGELLO, ciselé velvet in the, 46 
BATIK, classification of, 8; Javanese, 22 


BEDSPREADS, American, with loops, 48; Mar- 
seilles, classification, 22 

- BERNE, Musée Historique, moiré linen in the, 26 

BOKHARA, chiné fabrics from, 26 

BROCHER, see brocading, 49 

_ BROCADE, disadvantages of the term, 49 
BROCADED, cloth, Louis XV period, 23; cut 
voided velvet, z//., 56: damask, 50; damask, i/I., 

51; Gothic warp twill, 31; in silk and chenille, 
ribbed cloth of the Louis XIV period, 25; metal 
threads, 39, 54; Peruvian, ¢//., 51; Peruvian 
cloth, 52; plain cloth, 2//., 51; silks of the seven- 
teenth and eighteenth centuries, 57;silks, twelfth 
century, in the Cooper Union, 53; taffeta, Louis 
XV period, 23; thread in Hispano-Moresque 
tapestry, 53; velvet, 46, 50, 54; velvet, difference 
between Asia Minor and European, 54; velvet, 
metal threads in, 47; velvet, Near Eastern, 55 


BROCADING, 49-59; Asia Minor, 54, 55; Asia 
Minor, é//., 56; chenille, popular in Portugal, 
Russia, and Spain, 57; Coptic, 52; definition, 16; 
description, 49-52; European, 55; formula for, 
16; gold in, 52; history of, 52-59; in Gothic warp 
twills, 31; in the eighteenth century, 39; in the 
seventeenth century, 25, 39; on velvet, Asia 
Minor, 55; on velvet, European, 55; on voided 
velvet, 50; Italian, 53, 54; Italian, core of thread 
in, 53; Italian, ¢//., 56; Italian, loops in, 54; of 
gilt goldbeaters’ skin on velvet, 54; Persian, 
metal thread used in, 54, 55; process of, ¢//., 15; 
Spanish, type of thread used in, 53; with coloured 
silks, 53; with silver thread, 53, 55 


BROCATELLE, classification, 38 
BRUGES, pile on pile velvets sold in, 45 


BRUSSELS, Musées Royaux du Cinquantenaire, 
early ciselé velvet in the, 46 


BURLINGTON MAGAZINE, cited, 54 
BYZANTINE, double cloth, 23; twill, 31 


CAMBRIC, classification, 19 
CARPET WEAVE, formula for, 17 


CASHMERE SHAWLS, weave of, 11; i//., 10 


CENTRAL ASIA, chiné cloth from, 26; chiné vel- 
vet from, 46 


CHANGEABLE CLOTH, weave of, 19 
CHECKS, weave of, 19 
CHEESECLOTH, weave of, 19 


CHENILLE, and silk, Louis XIV period, ribbed 
cloth brocaded in, 25; brocading popular in 
Portugal, Russia, and Spain, 57; thread, brocad- 
ing of, 50 

CH’IEN LUNG, velvet woven during reign of, 46 


CHINE, cloth, ikat examples of Indonesian, 22; 
cloth, baa, cea 22; definition, 8; description, 
19, 20; fabrics from Bokhara, Central Asia, Japan, 
Mexico, Poland, 26; plain cloth, z//., 18; scarves 
from Mexico, 26; silk, French, 26; solid velvet, 
47; velvet, definition, 16; velvet from Central 
Asia, 26; velvet, historical note, 46; velvet, how 
to distinguish, 42; velvet portraits by Gaspard 
Grégoire, 46 


_ CHINESE, cut velvet, 46; cut velvet, #//., 43; dam- 


ask, 38; designs brought to Europe by the Mon- 
gols, 37; influence in Egyptian twills, 30; plain 
cloth woven during the Han Dynasty, 22; satin, 
warp twill possibly developed from, 32; silk ex- 
cavated at Lou lan, 53; silk, gilt thread in, 57; 
solid ciselé velvet, 47; solid ciselé velvet, é//., 43; 
velvet, historical note, 46; velvet, origin of, 44 


CHINTZ, classification, 8 
CH’UANG CHOU, 36 


CISELE solid satin velvet, z//., 43; velvet, defini- 
tion, 16; velvet, description, 41, 42; velvet, his- 
torical notes, 46, 47; velvet, é//., 15; velvet in the 
Bargello, 46; velvet of the Louis XVI period, 47; 
voided twill velvet, z//., 40 


CLASSIFYING, by weaves, 6; order of terms to be 
followed in, 17; textiles, decimal system for, 6; 
weave, 17, 30 


CLOTH, brocaded, Louis XV period, 23; brocaded, 
Peruvian, 52; changeable, 19; chiné, description, 
19, 20; chiné, Indonesian ikat examples of, 22; 
chiné plain, z//., 18; chiné, provenance, 22; com- 
pound,.Coptic, 23; compound, definition, 13; 
compound, description, 20-22; definition, 8, 9, 
13; description, 19, double, attributed to Byzan- 
tium, 23; double, definition, 13; double, descrip- 
tion, 20; double, historical notes, 23, 24; double, 
i/l., 15, 21; double, of the thirteenth and four- 
teenthcenturies, 23 ; double, Persian, inthe Cooper 
Union, 24; double, Peruvian, #//., 21; double, 
Spanish, 24, 25; fancy compound, definition, 13; 
fancy compound, description, 20; fancy, defini- 
tion, 9; fancy, description, 20; fancy, ¢//., 18; 
linen, Egyptian, 22; moiré plain, #//., 18; painted, 
20; Peruvian, 22, 23, 52; plain compound, #//., 
21, 28; plain, #/., 10; Sek brocaded, #//., 51; 
plain, Chinese, woven during the Han Dynasty, 
22; plain compound, definition, 13; plain com- 
pound, description, 20; plain compound, Egyp- 
tian, 23; plain compound, historical note, 23; 


+d 


plain compound, Spanish, 23; lain Coptic, 22; 
plain, definition, 8; plain dyed patterns in, 22, 
plain, historical notes, 22, 23; plain, stripes in, 
19; printed, description, 20; printed Indian, clas- 
sification, 8; printed plain, z//., 18; ribbed, bro- 
caded in silk and chenille, Louis XIV period, 25; 
ribbed, chiné, 26; ribbed, classification, 8; ribbed, 
description, 19; ribbed, historical notes, 24, 25, 
26; ribbed, important in the eighteenth century, 
58; ribbed, patterned, from Baghdad, 24; ribbed, 
possibly developed from tapestry, 24; ribbed 
slashed, historical note, 25; ribbed, with pebbled 
patterns, Louis XV period, 25; simple, definition, 
8;simple, description, 19;simple, historical notes, 
22, 23; slashed, historical note, 23; stencilled, 20; 
tapestry, interlocking, definition, 9; tapestry, 
slit, definition, 9; velvet, brocaded cut voided, 
ill., 56; velvet, definition, 14; velvet, description, 
41; velvet, historical note, 45; velvet, ribbed, 
historical note, 45; velvet, uncut voided, é//., 40; 
weave, definition, 8; weave, double, in Pennsyl- 
vania coverlets, 23; weave in Persian silks, 23, 
24; weaves, 19-27; weaves, history of the, 22-27 


COLOGNE ORPHREYS, linen core for thread in, 


32; weave of, 32 
COLOURED SILKS, brocading with, 53 


COMPOUND CLOTH, Coptic, 23; definition, 13; 
description, 20; fancy, definition, 13; fancy, de- 
scription, 20; historical note, 23; plain, definition, 
13; plain, description, 20; plain, Egyptian, 23; 
plain, #//., 21, 28; plain, Spanish, 23 

COMPOUND DAMASK, definition, 13; descrip- 
tion, 36 

COMPOUND SATIN, definition, 13; description, 
36; fancy, definition, 13; fancy, description, 36; 
fancy, Italian, 39; historical notes, 37, 38, 39; of 
Louis XIV period, 39; plain, definition, 13; plain, 
description, 36; plain, 7//., 35; silk and linen, 38; 
Spanish, 39 

COMPOUND TWILL, definition, 13;description, 
29, 30; fancy, definition, 13; fancy, description, 
29; plain, definition, 13; plain, aL rae 29; 
plain, z//., 28, 51; with extra weft of goldbeaters’ 
skin, 29, 32 

CONSTANTINOPLE, velvet made in, 44 


COOPER UNION, Persian double cloth in the, 24; 
printed velvetin the, 46; twelfth century brocaded 
silks of the Y Badia Collection in the, 53 

COPPER ALLOY in metal thread, $5 

COPTIC, brocading, 52; plain cloth, 22; compound 
cloth, 23; tapestry weave, 31; weft loops, 48 

CORD, see ribbed cloth, 8, 19, 20, 24, 25, 26 

CORE, linen, for metallic thread, 53; linen, for 
metallic thread in Cologne orphreys, 32; of thread 
in Italian brocading, 53; silk, for gilt paper 
thread, 57; silk, for metallic thread, 25, 53, 54 

COVERLETS, American, weave of, 23, 24; Penn- 
sylvania, double cloth weave in, 24 

COVERS, SICILIAN, weave of, 23; with weft loops, 
48 

CROCHETED FABRICS, formula for, 17 


CUT, solid twill velvet, z//., 43; velvet, Chinese, 
46; velvet, definition, 14; velvet, description, 41, 
42; velvet, historical note, 46; voided cloth vel- 
vet, brocaded, #//., 56; voided satin velvet, bro- 
caded, é//., 56; voided satin velvet, pile on pile, 
ill., 40 | 


DAMASK, Asia Minor, 38; brocaded, 50; brocaded, 
ill., 51; Chinese, 38; compound, definition, 13; 
compound, description, 36; definition, 11; de- 
scription, 34; historical notes, 38, 39; #//., 35; in 
the Louis XVI period, 39; linen, weft satin in, 
Il, 33, 34 

DECIMAL SYSTEM for classifying textiles, 6 

DIFFERENCE between European and Asia Minor 
metal thread, 54; #//., 56 

DOUBLE CLOTH, attributed to Byzantium, 23; 
definition, 13; description, 20; historical notes, 
23,24; 2l.,15,21; ofthe thirteenth and fourteenth 
centuries, 23; Persian, in the Cooper Union, 24; 
Peruvian, #//., 21; Spanish, 24, 25; weave in 
Pennsylvania coverlets, 24 

DYED, fabrics, classification, 8; patterns in plain 
cloth, 22 


DYEING, mordant, 20, 22; resist, 20 


EGYPTIAN; linen cloth, 22; origin of twill, 30; 
plain compound cloth, 23; ribbed silks of the 
ninth and tenth centuries, 24; twill, Chinese in- 
fluence in, 30; weft twill, 31 

EIGHTEENTH CENTURY, brocading in the, 57; 
fabrics, spangles in, 57 

ELEVENTH CENTURY, sixth to, weft twill im- 
portant, 57 . 

EMBROIDERED VELVET, early English, 44 

EMBROIDERY, formula for, 17 

ENGLISH embroidered velvet, early, 44 

ERRERA, Isabelle, cited, 24, 45 

EUROPE, Northern, primitive weaves in, 57 

EUROPEAN, and Asia Minor metal thread, differ- 
ence between, 54; brocading, 55; brocading on 
velvet, 55; fabrics with looped metal threads, 54; 
tapestry, weave of, 9; velvet distinguished from 
Asia Minor and Persian, 54 


FALKE, Otto von, cited, 24, 44, 52, 53 

FANCY, cloth, definition, 9; cloth, description, 20; 
cloth, z//., 18; compound cloth, definition, 13; 
compound cloth, description, 20;compound satin, 
definition, 13; compound satin, description, 36; 
compound satin, Italian, 39; compound twill, 
definition, 13; compound twill, description, 29; 
satin, definition, 11; satin, description, 36; satin, 
historical note, 39; satin, z//., 35; twill, defini- 
tion, 11; description, 29; twill, z//., 28 

FAR EASTERN TEXTILES, flat strips of gilt paper 
in, 57 

FELT, formula for, 17 

FIFTEENTH CENTURY, Italian velvet in the, 44 

FILLING, see weft, 7 


FLANAGAN, J. F., cited, 30 


60 


FLANNEL, classification, 32 

FLOAT, definition, 7 

FOUNDATION WEAVE in velvet, 41 

FOURTEENTH CENTURY, double cloth of the, 
23; warp twill important in the, 58 

FRENCH, brocaded cloth, 23; chiné silk, 26; bro- 
caded silks of the seventeenth and cighteenth 
centuries, 57 


GAUZE, formula for, 17 

GENOA, velvet made in, 44 

GERMANY, orphreys attributed to, 32 

GILES, Herbert, cited, 44 

GILT, goldbeaters’ skin used for metallic thread, 
-§3; goldbeaters’ skin used in Sicilian tapestry, 
$3; paper in kinran, 57; paper wound about a silk 
core, $7; papers strips of, in Far Eastern textiles, 
57; thread, 29, 32, 38, 52, 55; thread, historical 
note, 52; thread in Chinese silks, 57; thread made 
of paper, Japanese, 57 

GINGHAM, classification, 19 


SOPCOLD in brocading, 53 


GOLDBEATERS’ SKIN, extra weft of, in com- 
pound twill, 29, 32; gilt, used in Sicilian tapes- 
try, 53 

GREGOIRE, Gaspard, chiné velvet portraits by, 46 


HAN DYNASTY, patterned silks of the, 30, 37, 
53; plain cloth woven during the, 22 


HAND-LOOM WEAVES, table of, 4 

HEIDEN, Max, cited, 42 

HERRING-BONE, designs, classification, 11; de- 
signs in warp twill from Akhmim, 32; designs, 

weave of, 29; twill resembling satin, 37 

HISPANO-MORESQUE tapestry, brocaded thread 

ees 33 

HISTORY OF, brocading, 52-59; the cloth weaves, 

22-27; the satin weaves, 36-40; the twill weaves, 

30-33; the velvet weaves, 42-49 


HOMESPUN, classification, 29 
HOOKED RUGS, formula for, 17 


Ee _ HORIUJI, silks of the T’ang Dynasty at, 31 


HUCKABACK TOWELS, classification, 9, 20 


IBN BATUTA, quoted, 36 


a, IKAT examples of chiné cloth, 22 
4 __ INDIA SHAWLS, weave of, 11; é/., 10 
_ INDIAN, blankets, American, weave of, 9; cloths 


_ printed, classification, 8 
INDONESIAN chiné cloth, 22 


INTERLOCKING, tapestry, definition, 9; twill 
tapestry, definition, 11; twill tapestry, é//., 10 


_ ITALIAN, brocading, 53, 54; brocading, core of 
thread in, 53; brocading, #/., 56; brocading, 
loops in, 54; fancy compound satin, 39; metal 
thread, 55; velvet distinguished from Persian and 
Asia Minor, 54; velvet, ¢//., 40, 56; velvet in the 
fifteenth century, 44 


JAPANESE, chiné velvet, 26; gilt thread made of 
paper, 57; silk fabrics, warp twill in, 32; textiles, 
gilt paper in, 57; warp twill, #/., 51 

JARDINIERE VELVET with extra pile warps, 47 

JOUY, toiles de, classification, 8 


KINRAN, gilt paper in, 57 

KNOTTED RUG WEAVES, formula for, 17 
KNITTED FABRICS, formula for, 17 
KOZLOFF, P. K., fabrics excavated by, 53 


LACE, formula for, 17 


LAKE DWELLERS, Swiss, textile fragments of 
fea 


LAMPAS, disadvantages of the term, 38 


LINEN, and silk compound satin, 38; and silk orph- 
reys, 38; cloth, Egyptian, 22; core for metallic 
thread, 53; core for metallic thread in Cologne 
orphreys, 32; covers, Sicilian, 48; damask, weft 
satin in, 11, 33,34; moiré, in the Musée Historique 
at Berne, 26 


LITTRE, quoted, 49 


LOOPS, in Italian brocading, 54; in American bed- 
spreads, Coptic fabrics, Sicilian covers, and Span- 
ish rugs, 48; of metal thread in European fabrics, 
54; weft, classification, 14 

LOUIS XIV PERIOD, compound satin, 39; ribbed 
cloth brocaded in silk and chenille, 25 

LOUIS XV PERIOD, brocaded cloth, 23; brocaded 
taffeta, 23; few velvets woven in the, 48; pebbled 
patterns in ribbed cloth, 25; taffeta ee ribbed 
silk, 25 . 

LOUIS XVI PERIOD, ciselé velvet, 47; satin and 
damask, 39; tinsel used in the, 54;’velvet revival 
in the, 48 

LOU LAN, Chinese silks excavated at, 30, 53 


LUCCA, velvet sold by merchants from, 45 


MARCO POLO, Zaitun mentioned by, 36 

MARSEILLES BEDSPREADS, weave of, 22 

MEMBRANE, see goldbeaters’ skin, 29, 32, 53, 54 

MESSINA, velvet made in, 44 

METAL, flat strips of, 24, 45, 53, 54; flat strips of, 
in twill velvet, 45; thread bound by velvet warp 
in Italian velvet, 55; thread, brocaded, 39, 50; 
thread, copper alloy in, 55; thread, difference be- 
tween European and Asia Minor, 54; thread in 
brocaded velvet, 54; thread, Italian, 55; thread, 
looped, in European fabrics, 54; thread, Spanish, 
composition of, 55; thread used in Persian bro- 
cading, 54, 55; thread, zinc alloy in, 55 

METALLIC THREAD, gilt goldbeaters’ skin in, 
53; linen core in, 53; silk core in, 25, 53, 54 

MEXICO, chiné silk scarves from, 26 

MICHEL, Francisque, quoted, 42 

MING DYNASTY satin velvet, 46 

MOIRE, antique 19; definition, 8; description, 19; 
historical note, 26; linen in the Musée Historique 
at Berne, 26; plain cloth, #//., 18 


61 


MONGOLS, Chinese designs brought to Europe by 
fhe, 37 

MORDANT DYEING, 20, 22 

MUSLIN, classification, 19 


NEAR EASTERN brocaded velvet distinguished 
from European, 54 

NINETEENTH CENTURY painted velvet, men- 
tioned, 47 

NINTH AND TENTH CENTURIES, Egyptian 
ribbed silks of the, 24 

NORTHERN EUROPE, primitive weaves in, 57 


ORDER OF TERMS to be followed in classifica- 
tion, 17 

ORIGIN OF, Chinese velvet, 44; ribbed cloth pos- 
sibly tapestry weave, 24; the name velvet, 42; 
twill, Egyptian, 30; velvet, 44; warp twill pos- 
sibly Chinese satin, 32 

ORPHREYS, attributed to Germany, 32; Cologne, 
linen core for thread in, and weave of, 32; silk 
and linen, 37 


PAINTED, cloth, 20; fabrics, classification, 8; fab- 
rics, description, 20; velvet in the nineteenth 
century, mentioned, 47 

PAPAL INVENTORY of 1295, quoted, 44 

PAPER, gilt, in kénran, 57; thread, gilt, silk core 
for, 57; in Far Eastern textiles, flat gilt strips of, 
57; Japanese gilt thread made of, 57 

PARISET, Ernest, cited, 31 

PATTERNED, cords from Baghdad, 24; silks of the 
Han Dynasty, 30, 37, 53; velvet, early mention 
of, 44 

PEBBLED PATTERNS in ribbed cloth, Louis XV 
period, 25 

PENNSYLVANIA, coverlets, double cloth weave 
in, 24; Museum Bulletin, cited, 5 

PERCALE, classification, 19 

PERSIAN, and Asia Minor velvet distinguished 
from European, 54; brocading, metal thread used 
in, 54, §5; double cloth in the Cooper Union, 24; 
silks, cloth weaves in, 23, 24; velvet, historical 

. notes and characteristics, 44, 45, 46, 47 

PERUGIA TOWELS, tapestry weave in, 30; com- 
pound cloth weave in, 23, 30; #/., 28 

PERUVIAN CLOTH, 22, 23; brocaded, 52; bro- 
caded, #//., 51; double, 2//., 21 

PICK, see weft, 7 

PILE ON PILE, cut voided satin velvet, z//., 40; 
velvet, definition, 14; velvet, description, 42; 
velvet, historical notes, 45, 47; velvet sold in 
Bruges, 45 

PILE, warps, definition, 14; warps, extra in Jardi- 
niére velvet, 47; weaves, definition, 14 

PLAIN, cloth, Chinese, woven during the Han 
Dynasty, 22; cloth, Coptic, 22; cloth, definition, 
8; cloth, dyed patterns in, 22; cloth, historical 
notes, 22, 23; cloth, z//., 10; cloth, brocaded, 2//., 
51; cloth, chiné, 2//., 18; cloth, moiré, 7//., 18; 
cloth, printed, ¢//., 18; stripes in, 19; compound 


62 


cloth, definition, 13; compound cloth, descrip- 
tion, 20; compound cloth, Egyptian, 23; com- 
pound cloth, historical note, 23; compound cloth, 
all., 21, 28; compound cloth, Spanish, 23; com- 
pound satin, definition, 13; compound satin, de- 
ah ope 36; compound satin, é//., 35 ; compound 
twill, definition, 13; compound twill, descrip- 
tion, 29; compound twill, z//., 28, 51; satin, 
definition, 11; satin, description, 33; satin, 2//., 
12; satin, stamped slashed, 2//., 35; twill, defini- 
tion, 9; twill, description, 27; twill, 2//., 12, 28 
PLAITED WEAVE, formula for, 17 
POLAND, chiné silks from, 26 
POLO, Marco, Zaitun mentioned by, 36 
PONGEE, classification, 19 


PORTRAITS, chiné velvet, by Gaspard Grégoire, 
46 

PORTUGAL, chenille brocading popular in, 57 

PRIMITIVE WEAVES in Northern Europe, 57 


PRINTED, cloths, historical note, 22; cloths, In- 
dian, classification, 8; fabrics, definition, 8; 
fabrics, description, 20; plain cloth, z//., 18; 
velvet, definition, 16; velvet, historical notes, 
46, 47; velvet in the Cooper Union, 46 


REATH, N..A., Velvets of the Renaissance, 54 

REBOZOS, or Mexican scarves, 26 

RENAISSANCE, voided velvet predominated dur- 
ing the, 47 

RESIST DYEING, 20 


RIBBED, cloth brocaded in silk and chenille, Louis 
XIV period, 25; chiné cloth, 26; cloth, classifi- 
cation, 8;cloth, description, 19,20; cloth, histori- 
cal note, 24; cloth, important in the eighteenth 
century, 58; cloth, patterned, from Baghdad, 
24; cloth possibly developed from tapestry, 24; 
cloth velvet, historical note, 45; cloth with peb- 
bled patterns, Louis XV period, 25; double cloth, 
Spanish, 25; silk and taffeta in the Louis XV 
period, 25; silks of the ninth and tenth centuries, 
Egyptian, 24; slashed cloth, historical note, 25 


RISE OF SILK WEAVING in Sicily, 31 
ROMAN SILK TRADE before the sixth century, 31 


RUGS, hooked, formula for, 17; knotted, formula 
for, 17; Sardinian, weave of, 23; Spanish, weft. 
loops in, 48 

RUSSIA, chenille brocading popular in, 57 


SARDINIAN RUGS, weave of, 23 
SATEEN, classification, 11 


SATIN, Chinese, warp twill possibly developed 
from, 32; compound, definition, 13; compound, 
description, 36; compound, historical notes, 37, 
38, 39; compound, Louis XIV period, 39; com- 
pound, silk and linen, 38; compere Spanish, 
39; description, 33; distinguished from twill, 33; 
early, warp twill confused with, 37; fancy com- 
pound, definition, 13; fancy compound, descrip- 
tion, 36; fancy, definition, 11; fancy, description, 
36; fancy, historical note, 39; fancy, zl/., 35; 
herring-bone twill resembling, 37; in the Louis 
XVI period, 39; plain compound, definition, 13; 


plain compound, description, 36; plain com- 
pound, z//., 35; plain, definition, 11; plain, de- 
scription, 34; plain, z//., 12; silk and linen 
compound, 38; simple, definition, 11; simple, 
description, 33; simple, historical note, 37; 
slashed, description, 34; slashed, historical note, 
23; stamped slashed plain, #//., 35; velvet, bro- 
caded cut voided, #//., 56; velvet, ciselé solid, 
all., 43; velvet, definition, 16; velvet, description, 
41; velvet, historical note, 44; velvet of the Ming 
Dynasty, 46; velvet, pile on pile cut voided, d//., 
40; velvet, stamped uncut solid, z//., 40; warp, 
description, 33; weaves, 33-40; weaves, history 
of the, 36-40; weft, classification, 11; weft, de- 
scription, 33; weft, in linen damask, 11, 33, 34; 
called azedtuni and xetani raso, 37 


SCARVES, chiné silk, from Mexico, 26 

SELVAGE, definition, 7 

SERGE, classification, 32 

SEVENTEENTH CENTURY, brocading in the, 
255 39> 57 

SHAWLS, Cashmere and India; weave of, 11; d/l., 

P70. 

SHOOT, see weft, 7 


SICILIAN, covers, weave of, 23; covers with weft 
out 48; silk weaving, rise of, 31; tapestry, gilt 
goldbeaters’ skin used in, 53 


ty SILVER THREAD, brocading with, 52, 53, 55 


SIMPLE, cloth, definition, 8; cloth, description, 19; 
cloth, historical notes, 22, 23; satin, definition, 
II; satin, description, 33; satin, historical note, 
37; twill, definition, 9; twill, description, 27 

SIXTH CENTURY, Roman silk trade before the, 
31; to the eleventh, weft twill important, 57 

SLASHED, cloth, ribbed, historical notes, 23, 25; 
definition, 9; plain satin, stamped, #//., 35; satin, 
‘historical note, 23; satin, description, 34 

SLIT TAPESTRY, definition, 9; 2//., 10, 21 

SOLID, satin velvet, ciselé, 2//., 43; satin velvet, 
stamped uncut, é//., 40; twill velvet, cut, é//., 43; 
velvet, chiné, 42; velvet, definition, 14; velvet, 
description, 41; velvet, historical notes, 44, 45, 47 

SPAIN, chenille brocading popular in, 57 
SPANGLES in eighteenth century fabrics, 57 

SPANISH, brocading, De of thread used in, 53; 
compound satin, 39; double cloth, 24; metal 
thread, composition of, 55; plain compound 
cloth, 23; ribbed double cloth, 25; rugs with weft 
loops, 48 

STAMPED, definition, 8; aa Ber 19; slashed 
plain satin, 2//., 35; uncut solid satin velvet, é//., 
40; velvet, definition, 14; velvet, description, 42; 
velvet, historical notes, 46, 47 

STEIN, Sir Aurel, Chinese silks excavated by, 53 

STENCILLED, classification, 8; description, 20 

STRIPED EGYPTIAN SILKS of the ninth and 
tenth centuries, 24 

STRIPES, classification, 17; in plain cloth, 19 

SWISS LAKE DWELLERS, textile fragments of 
Tie, 2.2. 


TABBY, classification, 22 
TABLE of hand-loom weaves, 4 


TAFFETA, and ribbed silk in the Louis XV period, 
25; brocaded, Louis XV period, 23; classifica- 
tion, 19; historical note, 23; slashed, historical 
note, 23 


T’ANG DYNASTY, silks of the, at Horiuji, 31 


TAPESTRY, ti weave of, 9; Hispano- 
Moresque, brocaded thread in, 53; 2//., 28; inter- 
locking, definition, 9; interlocking twill, defini- 

. Uon, 11; interlocking twill, zJ/., 10; Sicilian, gilt 
goldbeaters’ skin used in, 53; slit, definition, 9; 
slit, 2L., 10, 21; slit twill, definition, 11; weave 
in Egyptian fabrics, 30, 31; weave in Perugia 
towels, 30; weave, ribbed cloth possibly devel- 
oped from, 24 

TARTANS, twill weave of, 3x 

TENTH CENTURY, Egyptian ribbed silks of the, 
24 

TERMS, order of, to be followed in classification, 
17 

THEODULF, fra 
of, 42 

THIRTEENTH AND FOURTEENTH CENTUR- 
IES, double cloth of the, 23; warp twill impor- 
tant in the, 58 


TINSEL used in the Louis XVI period, 54 
TOILES DE JOUY, classification, 8 . 
T’OUNG PAO, cited, 36 


TOWELS, huckaback, weave of, 9, 20; Perugia, 
ail., 28; Perugia, tapestry and twill weaves in, 
30; Perugia, plain compound cloth weave in, 23 


TWEEDS, twill weave of, 29 


TWELFTHCENTURY brocaded silks in the Cooper 
Union, 53 


TWILL, Alexandrian, not brocaded, 52; Byzan- 
tine, 31; compound, definition, 13; compound, 
description, 29, 30; compound, with extra weft 
of goldbeaters’ skin, 29, 32; distinguished from 
satin, 33; Egyptian, Chinese influence in, 30; 
Egyptian origin of, 30; fancy compound, defini- 
tion, 13; fancy compound, description, 29; fancy, 
definition, 11; fancy, description, 29; fancy, #/J., 
28; Gothic warp, brocaded, 31; herring-bone, 
resembling satin, 37; herring-bone warp, from 
Akhmim, 32; Japanese, z//., 51; plain compound, 
definition, 13; plain compound, description, 29; 
plain compound, #//., 28, 51; plain, definition, 9; 
plain, description, 27; plain, z//., 12, 28; simple, 
definition, 9; simple, description, 27; tapestry, 
definition, 11; tapestry, interlocking, defini- 
tion, 11; tapestry, interlocking, #//., 10; velvet, 
ciselé voided, z//., 40; velvet, cut solid, é//., 43; 
velvet, definition, 16; velvet, description, 41; 
velvet, flat strips of metal in, 45; velvet, his- 
torical note, 45; warp, brocaded Gothic, 31; 
warp, possibly developed from Chinese satin, 32; 
warp, confused* with eatly satin, 37; warp, 
description, 29; warp, historical notes, 31, 32; 
warp, important in the thirteenth and fourteenth 
centuries, 58; warp, in Japanese silk fabrics, 32; 
weave, description, 27; weave of tartans, 32; 


gments of velvet in the manuscript 


weave of tweeds, 29; weaves, 27-33; weaves, 
history of the, 30-33; weft, coil re 29; weft, 
Egyptian, 30, 31; weft, historical notes, 30, 31, 
32; weft, important, sixth century to the elev- 
enth, 57 


TWISTED WEAVES, formula for, 17 


UNCUT, solid satin velvet, stamped, é//., 40; velvet, 
definition, 14, 16; velvet, description, 41; velvet, 
historical notes, 46, 47; voided cloth velvet, z/1., 
40 , 

URGA, silk fabrics excavated near, $3 


VELVET, Asia Minor, 44, 45, 46, 47; Asia Minor 
brocading on, 55; Asia Minor, distinguished 
from European, 54; brocaded, 50, 54; brocaded 
cut voided cloth, é//., 56; brocaded cut voided 
satin, é/l., 56; brocaded, metal thread in, 54; 
brocaded, Near Eastern, 55; chiné, from Central 
Asia, 46; chiné, definition, 16; chiné, historical 
note, 46; chiné, how to distinguish, 42; chiné 
solid, 47; Chinese ciselé solid, 47; Chinese, his- 
torical note, 46; Chinese, origin of, 44; ciselé, 
definition, 16; ciselé, description, 41, 42; ciselé, 
historical notes, 46, 47; ciselé, z//., 15; ciselé, in 
the Bargello, 46; ciselé, of the Louis XVI period, 
47; ciselé solid satin, 2//., 43; ciselé voided twill, 
ill., 40; cloth, definition, 14; cloth, description, 
41; cloth, historical note, 45; cotton, linen, and 
woo!, mentioned, 41; cut, Chinese, 46; cut, def- 
inition, 14; cut, ses 41; cut, historical 
note, 46; cut solid twill, z//., 43; definition, 14; 
description, 41; early English embroidered, 44; 
European brocading on, 55; European distin- 
guished from Asia Minor, 54; foundation weave 
in, 41; fragments of, in the Manuscript of 
Theodulf, 42; Italian, distinguished from Asia 
Minor and Persian, 54; Italian, in the fifteenth 
century, 44; Jardiniére, with extra pile warps, 
47; made in Constantinople, Genoa, Messina 
and Venice, 44; materials used in, 41; Near East- 
ern, distinguished from European, 54; origin of, 
44; origin of the name, 42; painted, in the nine- 
teenth century, 47; patterned, early mention of, 
44; Persian, distinguished from European, 54; 
Persian, historical notes and characteristics, 47; 
54; pile on pile cut voided satin, //., 40; pile on 
pile, definition, 14; pile on pile, description, 42; 
pile on pile, historical notes, 45, 47; pile on pile, 
sold in Bruges, 45 ; portraits by Gaspard Grégoire, 
chiné, 46; printed, definition, 16; printed, his- 
torical notes, 46, 47; printed, in the Cooper 
Union, 46; rare in the Louis XV period, 48; 
revival in the Louis XVI period, 48; ribbed 
cloth, historical note, 45; satin, definition, 16; 
satin, description, 41; satin, historical note, 44; 
satin, of the Ming Dynasty, 46; sold by mer- 
chants from Lucca, 45; solid, chiné, 47; solid, 
definition, 14; solid, description, 41; solid, his- 
torical notes, 44, 45, 47; stamped, definition, 14; 
stamped, description, 42; stamped, historical 
notes, 46, 47; stamped uncut solid satin, 2//., 40; 
take-up of warp in, 42; twill, definition, 16; 
twill, description, 41; twill, flat strips of metal 
in, 45; twill, historical note, 45; uncut, defini- 


tion, 14, 16; uncut, description, 41, 42; uncut, 
historical notes, 46, 47; uncut tie he cloth, 2/., 
40; voided, brocading on, 50; voided, definition, 
16; voided, description, 41; voided, historical 
note, 47; voided, predominated during the Re- 


naissance, 47; warp, metal thread bound by, in 


European velvet, 55; weaves, 41-49; weaves, 
history of the, 42-49; woven during the reign 
of Ch'ien Lung, 46 


VELVETEEN, classification, 14 
VENICE, velvet made in, 44 


VICTORIA AND ALBERT MUSEUM, warp twill 
ithe jas 

VOIDED, cloth velvet, brocaded cut, é//., 56; cloth 
velvet, uncut, 2//., 40; satin velvet, brocaded 
cut, z//., 56; satin velvet, pile on pile cut, #/., 
40; twill velvet, ciselé, é/., 40; velvet, brocad- 
ing on, 50; velvet, definition, 16; velvet, descrip- 
tion, 41; velvet, historical note, 47; velvet pre- 
dominated during the Renaissance, 47 


WARP, definition, 7; ends, see warp, 7; satin, 
description, 33; take-up of, in velvet weaving, 
42; twill, brocaded Gothic, 31; twill, Sombie 
developed from Chinese satin, 32; twill, con- 
fused with early satin, 37; twill, description, 29; 
twill from Akhmim, herring-bone designs in, 
32; twill, historical notes, 31, 32; twill impor- 
tant in the thirteenth and fourteenth centuries, 
58; twill in Japanese silk fabrics, 32; twill in the 
Victoria and Albert Museum, 32; velvet, metal 
thread bound by, in European velvet, 55 


WARPS, extra pile, in Jardiniére velvet, 47; pile, 
description, 14 


WATERED, or moiré, designs, 8, 19, 26 


WEAVE, of European tapestry, 9; of herring-bone 
designs, 29; the classifying, 17 


WEAVES, analysis of the, 7-18; hand-loom, table 
of, 4; classification by, 6; cloth, 19-27; cloth, 
history of the, 22-27; satin, 33-40; satin, history 
of the, 36-40; twill, 27-33; twill, history of the, 
30-33; velvet, 41-49; velvet, history of the, 
42-49 

WEFT, definition, 7; loops, American bedspreads 
with, 48; loops, classification, 14; loops, Coptic, 
48; loops, Sicilian covers with, 48; loops, Span- 
ish rugs with, 48; satin, definition, 11; satin; 
description, 33; satin in linen damask, 11, 33, 34; 
twill, description, 29; twill, Egyptian, 30, 31, 
twill, historical notes, 30, 31, 32; twill impor- 
tant, sixth century to the eleventh, 57 

WOOF, see weft, 7 


Y BADIA COLLECTION in the Cooper Union, 53 
YULE, Henry, cited, 31 


ZAITUN mentioned by Marco Polo, 36 
ZETANI RASO, satin called, 37 
ZINC ALLOY in metal thread, 55 


64 


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